Title Anxiety

Several times I’ve wanted to title something one thing, but have realized or been persuaded it isn’t a good idea. I’ve known for a long time that there isn’t a copyright on titles, but still . . . do I want to get into the confusion that causes? (Also, I’m rarely good at it. For years, Roger Angell, my editor at The New Yorker, titled most of my stories.) I mention this because while I don’t begin a story with a title in mind 95% of the time, I have anxiety about coming up with one, and when I do, it will often have been taken. So there it is: inherent title anxiety. It floats like a dark cloud over the story that does not yet exist.

ANN BEATTIE

Take Possession of Yourself

At one time I imagined that if I wrote like other people, if I imitated writers I liked, I would only have to expose myself through a disguise. I did this for a time, but my own self kept coming through. It took me a while to see that it isn't a question of discovering your voice but of seeing that you have a voice already, just as you have a personality, and that if you continue to write you have no choice but to speak, write, and live in it.What you have to do, in a sense, is take possession of yourself. The human being and the writer are the same. It is only with the heart that one can see clearly. What is essential is invisible to the eye.

HANIF KOUREISHI

Don't Write What You Know

When I taught creative writing at Princeton, [my students] had been told all of their lives to write what they knew. I always began the course by saying, “Don’t pay any attention to that.” First, because you don’t know anything and second, because I don’t want to hear about your true love and your mama and your papa and your friends. Think of somebody you don’t know. What about a Mexican waitress in the Rio Grande who can barely speak English? Or what about a Grande Madame in Paris? Things way outside their camp. Imagine it, create it. Don’t record and editorialize on some event that you’ve already lived through. I was always amazed at how effective that was. They were always out of the box when they were given license to imagine something wholly outside their existence. I thought it was a good training for them. Even if they ended up just writing an autobiography, at least they could relate to themselves as strangers.

TONI MORRISON

A Writer's Solitude

Writers are solitaries by vocation and necessity. I sometimes think the test is not so much talent, which is not as rare as people think, but purpose or vocation, which manifests in part as the ability to endure a lot of solitude and keep working. Before writers are writers they are readers, living in books, through books, in the lives of others that are also the heads of others, in that act that is so intimate and yet so alone.

REBECCA SOLNIT

A Writer Should Be a Critic of Society

It is my belief that the writer, the free-lance author, should be and must be a critic of the society in which he lives. It is easy enough, and always profitable, to rail away at national enemies beyond the sea, at foreign powers beyond our borders who question the prevailing order. But the moral duty of the free writer is to begin his work at home; to be a critic of his own community, his own country, his own culture. If the writer is unwilling to fill this part, then the writer should abandon pretense and find another line of work: become a shoe repairman, a brain surgeon, a janitor, a cowboy, a nuclear physicist, a bus driver.

EDWARD ABBEY

A Simple Structure Will Do

A simple and straightforward structure will do. Structure is one of those craft decisions that unfortunately one cannot avoid when writing a novel. Some novels may be remembered for their ingenious structures, but a novel does not have to have an ingenious structure to be great. A simple structure will do just fine. For instance, War and Peace has the most straightforward structure: the novel alternates between war (characters in the military settings) and peace (characters in the civilian settings). A complex book doesn’t have to have a complicated structure.

YIYUN LI

Don't Confuse Dialogue with Conversation

Young writers often confuse dialogue with conversation, under the assumption that the closer you get to reality, the more convincing you sound. But dialogue is not conversation. Dialogue is a construct; it is artificial; it is much more efficient and believable than real conversation. Just as fiction itself distorts reality in order to achieve a larger truth, so dialogue eliminates all the false starts and irrelevant intrusions of real life in order to reveal character and move the encounter toward a dramatic conclusion.

JOHN L'HEUREUX

The Writing Impulse Seeks Its Own Level

The writing impulse seeks its own level and isn’t always given a chance to find it. You can’t make up your mind in a Comp Lit class that you’re going to be a Russian novelist. Or even an American novelist. Or a poet. Young writers find out what kinds of writers they are by experiment. If they choose from the outset to practice exclusively a form of writing because it is praised in the classroom or otherwise carries appealing prestige, they are vastly increasing the risk inherent in taking up writing in the first place. It is so easy to misjudge yourself and get stuck in the wrong genre. You avoid that, early on, by writing in every genre. If you are telling yourself you’re a poet, write poems. Write a lot of poems. If fewer than one work out, throw them all away; you’re not a poet. Maybe you’re a novelist. You won’t know until you have written several novels.

JOHN McPHEE

Zadie Smith's Advice to Writers

1. When still a child, make sure you read a lot of books. Spend more time doing this than anything else.

2. When an adult, try to read your own work as a stranger would read it, or even better, as an enemy would.

3. Don’t romanticize your “vocation.” You can either write good sentences or you can’t. There is no “writer’s lifestyle.” All that matters is what you leave on the page.

4. Avoid your weaknesses. But do this without telling yourself that the things you can’t do aren’t worth doing. Don’t mask self-doubt with contempt.

5. Leave a decent space of time between writing something and editing it.

6. Avoid cliques, gangs, groups. The presence of a crowd won’t make your writing any better than it is.

7. Work on a computer that is disconnected from the internet.

8. Protect the time and space in which you write. Keep everybody away from it, even the people who are most important to you.

9. Don’t confuse honors with achievement.

10. Tell the truth through whichever veil comes to hand, but tell it. Resign yourself to the lifelong sadness that comes from never being satisfied.

Think About Audience

We’re not only allowed to think about audience, we’d better. What we’re doing in writing is not all that different from what we’ve been doing all our lives, i.e., using our personalities as a way of coping with life. Writing is about charm, about finding and accessing and honing ones’ particular charms. To say that “a light goes on” is not quite right—it’s more like: a fixture gets installed.

GEORGE SAUNDERS