The original article can be found here on WRITER'S DIGEST. And in no way am I associated with it at all (like the writing and the posting). Now enjoy.
“If you have a story that seems worth telling, and you think you can tell it worthily, then the thing for you to do is to tell it, regardless of whether it has to do with sex, sailors or mounted policemen.”
—Dashiell Hammett, June 1924
—Dashiell Hammett, June 1924
“The writing of a novel is taking life as it already exists, not to report it but to make an object, toward the end that the finished work might contain this life inside it and offer it to the reader. The essence will not be, of course, the same thing as the raw material; it is not even of the same family of things. The novel is something that never was before and will not be again.”
—Eudora Welty, February 1970
—Eudora Welty, February 1970
“You yearn to turn out a book-length, your typewriter is silently shrieking abuse, you are itching to go. First read! Read the work of top-notch writers in your field. They know how! Read first for entertainment, then reread for analysis. Soak yourself in their stuff—for atmosphere, color, technique.”
—Fred East, June 1944
—Fred East, June 1944
“One thing that helps is to give myself permission to write badly. I tell myself that I’m going to do my five or 10 pages no matter what, and that I can always tear them up the following morning if I want. I’ll have lost nothing—writing and tearing up five pages would leave me no further behind than if I took the day off.”
—Lawrence Block, June 1981
—Lawrence Block, June 1981
“The trap into which all writers have, will, or should fall into, of writing The Great American Watchamacallit, is such an uncluttered and inviting one that from time to time I’m sure even the greatest have to pull themselves up short by the Shift key to remind themselves that it is story first that they should write.”
—Harlan Ellison, January 1963
—Harlan Ellison, January 1963
“It’s like making a movie: All sorts of accidental things will happen after you’ve set up the cameras. So you get lucky. Something will happen at the edge of the set and perhaps you start to go with that; you get some footage of that. You come into it accidentally. You set the story in motion and as you’re watching this thing begin, all these opportunities will show up. So, in order to exploit one thing or another, you may have to do research. You may have to find out more about Chinese immigrants, or you may have to find out about Halley’s Comet, or whatever, where you didn’t realize that you were going to have Chinese or Halley’s Comet in the story. So you do research on that, and it implies more, and the deeper you get into the story, the more it implies, the more suggestions it makes on the plot. Toward the end, the ending becomes inevitable.”
—Kurt Vonnegut, November 1985
—Kurt Vonnegut, November 1985
“Don’t expect the puppets of your mind to become the people of your story. If they are not realities in your own mind, there is no mysterious alchemy in ink and paper that will turn wooden figures into flesh and blood.”
—Leslie Gordon Barnard, May 1923
—Leslie Gordon Barnard, May 1923
“If you tell the reader that Bull Beezley is a brutal-faced, loose-lipped bully, with snake’s blood in his veins, the reader’s reaction may be, ‘Oh, yeah!’ But if you show the reader Bull Beezley raking the bloodied flanks of his weary, sweat-encrusted pony, and flogging the tottering, red-eyed animal with a quirt, or have him booting in the protruding ribs of a starved mongrel and, boy, the reader believes!”
—Fred East, June 1944
—Fred East, June 1944
“We writers are apt to forget that, as the gunsmoke fogs and the hero rides wildly to the rescue, although the background of this furious action is fixed indelibly in our own minds, it is not fixed in the mind of the reader. He won’t see or feel it unless you make him—bearing always in mind that you can’t stop the gunfight or the racing horse to do the job.”
—Gunnison Steele, March 1944
—Gunnison Steele, March 1944
“Plot, or evolution, is life responding to environment; and not only is this response always in terms of conflict, but the really great struggle, the epic struggle of creation, is the inner fight of the individual whereby the soul builds up character.”
—William Wallace Cook, July 1923
—William Wallace Cook, July 1923
“Plot is people. Human emotions and desires founded on the realities of life, working at cross purposes, getting hotter and fiercer as they strike against each other until finally there’s an explosion—that’s Plot.”
—Leigh Brackett, July 1943
—Leigh Brackett, July 1943
“You can’t write a novel all at once, any more than you can swallow a whale in one gulp. You do have to break it up into smaller chunks. But those smaller chunks aren’t good old familiar short stories. Novels aren’t built out of short stories. They are built out of scenes.”
—Orson Scott Card, September 1980
—Orson Scott Card, September 1980
“Don’t leave your hero alone very long. Have at least two characters on stage whenever possible and let the conflict spark between them. There can be conflict with nature and your hero can struggle against storm or flood, but use discretion. … You could write a gripping story about a struggle between a lone trapper and a huge, clever wolf. But the wolf is practically humanized in such a story and fills every role of villain. The wolf too wants something and does something about it. A storm doesn’t want anything and that’s why its conflict with man is generally unsatisfactory. It doesn’t produce the rivalry which is the basis of good conflict.”
—Samuel Mines, March 1944
—Samuel Mines, March 1944
“The first sentence can’t be written until the final sentence is written.”
—Joyce Carol Oates, April 1986
—Joyce Carol Oates, April 1986
“The writing of a mystery story is more of a sport than a fine art. It is a game between the writer and the reader. If, once in a while, a really fine book comes out of this contest, that is good; but the game’s the thing. If, on Page 4, the reader knows that the soda cracker is spread with butter mixed with arsenic, and later on this is proven to be true, then the reader has won the game. If, however, when the reader finishes the book, he says, ‘I didn’t get it—all the clues were there, plain as who killed Cock-Robin, but I didn’t get it,’ then the author has won the game. The author has to play fair, though. He has to arrange his clues in an orderly manner, so that the reader can see them if he looks hard enough.”
—Polly Simpson Macmanus, January 1962
—Polly Simpson Macmanus, January 1962
“Authors of so-called ‘literary’ fiction insist that action, like plot, is vulgar and unworthy of a true artist. Don’t pay any attention to misguided advice of that sort. If you do, you will very likely starve trying to live on your writing income. Besides, the only writers who survive the ages are those who understand the need for action in a novel.”
—Dean R. Koontz, August 1981
—Dean R. Koontz, August 1981
“What the young writer is looking for is not a critic who will slap him on the back and say, ‘Greatest thing since O. Henry,’ but rather the one who will toss the manuscript down in disgust, with ‘You know better than that! It’s rotten! Do it all over again!’”
—Henry Sydnor Harrison, March 1923
—Henry Sydnor Harrison, March 1923
“Make your novel readable. Make it easy to read, pleasant to read. This doesn’t mean flowery passages, ambitious flights of pyrotechnic verbiage; it means strong, simple, natural sentences.”
—Laurence D’Orsay, October 1929
—Laurence D’Orsay, October 1929
“When your story is ready for rewrite, cut it to the bone. Get rid of every ounce of excess fat. This is going to hurt; revising a story down to the bare essentials is always a little like murdering children, but it must be done.”
—Stephen King, November 1973
—Stephen King, November 1973
“Loving your subject, you will write about it with the spontaneity and enthusiasm that will transmit itself to your reader. Loving your reader, you will respect him and want to please him. You will not write down to him. You will take infinite pains with your work. You will write well. And if you write well, you will get published.”
—Lee Wyndham, November 1962,
—Lee Wyndham, November 1962,
“Genius gives birth, talent delivers.”
—Jack Kerouac, January 1962
—Jack Kerouac, January 1962
“Long patience and application saturated with your heart’s blood—you will either write or you will not—and the only way to find out whether you will or not is to try.”
—Jim Tully, October 1923
—Jim Tully, October 1923
