Doin't Make It Up

The last rule of memoir club: don’t make it up. If you don’t remember or you don’t have artifacts, ask everyone around you. Take this opportunity to interview all the crushes you ever had. Small details trigger other memories or might lead to questions that wouldn’t normally arise. (Why didn’t you take me to prom? Did we smoke weed and THEN go to Subway or go to Subway and then smoke weed?) Details are important and getting them right is what makes writing good. This is your life but there were witnesses and they can help piece together what happened. It’s not always what you think or what you remember.

JAIME LOWE

One Word at a Time

Writing is only one word at a time. It’s not a whole bunch of things happening at once. Various things can present themselves, but when you face the page, it’s a couple of words, and then a couple more words, and, if you’re lucky, a sentence or a paragraph. Because writing is linear, it must organize itself into this thin little stream that moves forward, which, if your mind is full of chaos, is quite reassuring. When I listen to music, especially symphonic music, there’s a huge number of sounds and resonances that come to me at the same time, and they must organize themselves and go into my head in an orderly way. For me to pick them apart is to turn them back into chaos. But when I look at writing, it’s all just one word at a time.

JANE SMILEY

Ease of Delivery

I’m a frotteur, someone who likes to rub words in his hand, to turn them around and feel them, to wonder if that really is the best word possible. Does that word in this sentence have any electric potential? Does it do anything? Too much electricity will make your reader’s hair frizzy. There’s a question of pacing. You want short sentences and long sentences—well, every writer knows that. You have to develop a certain ease of delivery and make your writing agreeable to read.

JAMES SALTER

Stillness

Build pockets of stillness into your life. Meditate. Go for walks. Ride your bike going nowhere in particular. There is a creative purpose to daydreaming, even to boredom. The best ideas come to us when we stop actively trying to coax the muse into manifesting and let the fragments of experience float around our unconscious mind in order to click into new combinations. Without this essential stage of unconscious processing, the entire flow of the creative process is broken.

MARIA POPOVA

Changing the Theme

The best thing that can happen is for the theme to be nice and clear from the beginning. Doesn’t always happen. You think you have a theme and you then start telling the story. Pretty soon the characters take over and the story takes over and you realize your theme isn’t being executed by the story, so you start changing the theme.

PADDY CHAYEFSKY

Revising Proves Your Care for the Reader

In the long run, the revision process feels better if you approach it with curiosity. Each editorial mark can’t register as a “mistake” that threatens the spider ego. Remind yourself that revising proves your care for the reader and the nature of your ambition.

MARY KARR

Fact vs. Fiction

The world that fiction comes from is fragile. It melts into insignificance against the universe of what is clear and visible and known. It persists because it is based on the power of cadence and rhythm in language and these are mysterious and hard to defeat and keep in their place. The difference between fact and fiction is like the difference between land and water.

COLM TÓIBÍN

The Art of Noticing

Maybe…start your story with your notebook closed, and tap out a few descriptions without consulting it. Then you can open the notebook and confirm the details with your notes. Or — my favorite technique — tell the story out loud to a friend and listen to what naturally bubbles up in the telling. If you’re a writer, you ought to be a good storyteller, with instincts for what makes a listener perk up. Pay attention to what you tell your listener, and you’ll be able to translate that to the page. This all assumes one essential behavior: Namely, that you pay very close attention when you’re collecting information for a story. Worry less about your notes and more about absorbing the experience — really absorbing it, so you know it deeply. The art of noticing is the bedrock; the craft is taking what you’ve noticed and arranging it well on the page. Start with your eyes open, and you’re more than halfway there.

SUSAN ORLEAN

Active Verbs, Not Passive Verbs

Your best tools are short, plain, Anglo-Saxon verbs. I mean active verbs, not passive verbs. If you could write an article using only active verbs, your article would automatically have clarity and warmth and vigor.

WILLIAM ZINSSER

Fooled by Stories

I don’t begin with a preconceived notion of where a piece of writing is going to end. If you go around filling a grocery cart, you figure, I’m cooking for tonight. You are not often fooled in the grocery store as to what your approach should be. But I’m fooled by stories sometimes, thinking that I’m picking up something for the night, and it turns out that I’m shopping for a week or a month. I’m always happy when that happens. It’s not consistent fun like being on a roller coaster, but I can hardly think of anything that pleases me more than writing a sentence that surprises me.

ANN BEATTIE