Writing Craft Quotes

Write what is important to you, regardless of fashion or marketability or anything like that – all those things are so far out of your control that you may as well not think about them. Of course, this may mean you’ll never be published but that’s a risk we all take every single time we set hands to keyboard or pen to paper. For me, if I can sit back at the end of a project and say, ‘yes, I stayed honest, I said what I wanted to say, and I made it sing to the best of my ability’, then I’m happy enough. Of course, if anyone wants to buy the damned thing off me when I’m done, that’s jam I won’t refuse.

Why do you never find anything written about that idiosyncratic thought you advert to, about your fascination with something no one else understands? Because it is up to you. There is something you find interesting, for a reason hard to explain because you have never read it on any page; there you begin. You were made and set here to give voice to this, your own astonishment.

A dear and long-time friend,... asked me, "Jack, how long does it usually take you to write a book?" I replied, "Of course it depends on the project and its requirements, each book has its own rules. But for a statement to the world at large, once I've thought a book through and written it in my mind, it takes me around a week or so, depending on this and that, ordinarily at the rate of a chapter a day, but I've had some two-chapters day and some chapters have taken two days. And then of course there is revision, but around a week is about right." He seemed surprised, and I was surprised by his surprise, so I thought, maybe I'm wrong. I went home and wrote this book, at the perfectly normal pace of a chapter a day, as usual...

Don't tell me the moon is shining, show me the glint of light on broken glass.

Good writing just isn't that common.

An idea for a story can be anything. The sky is not the limit, the limit is beyond it.

People should know better than to be an ass in front of writers. We immortalize things. Lots of things. And we take liberties with character descriptions.

Jesus--if Kilgore Trout could only write!" Rosewater exclaimed. He had a point: Kilgore Trout's unpopularity was deserved. His prose was frightful. Only his ideas were good.

If you have no money, men won't care for you, women won't love you; won't, that is, care for you or love you the last little bit that matters.

You can’t just come out and say what you have to say. That’s what people do on airplanes, when a man plops down next to you in the aisle seat of your flight to New York, spills peanuts all over the place (back when the cheapskate airlines at least gave you peanuts), and tells you about what his boss did to him the day before. You know how your eyes glaze over when you hear a story like that? That’s because of the way he’s telling his story. You need a good way to tell your story.

Technical knowledge, divorced from what it is supposed to be knowledge of, yields only the illusion of understanding. It's like being able to reel off the locations in a baseball field -- first base, second base, third base, home plate, left field, right field, center field, pitcher's mound -- without having the slightest clue as to how they function in a game. You can talk the talk, but you can't walk the walk.

I never really feel that I’m stuck. I actually think that people are never stuck, there’s no such thing as writers block, I think that theres terror that can silence you. But if you can think of it as a dynamic thing I mean a writers block, it’s a paralysis an immobility and the thing that has immobilized you is a very powerful force. Immobility is itself an act, it’s a choice. It can sometimes take as much energy to remain immobile as it does to be mobile. And if you think of it in a dynamic way then it’d freeze you from the sense that at some point your talent will simply abandon you and you’re just a vacant shell with nothing to say, I don’t think that ever really happens. But I think that terror, bad experience, trauma and so on can absolutely silence you.

On working with other writers: You develop honesty and you can then ask the really embarrassing questions. I have learned so many things I didn’t want to know, and they were all a result of interesting interviews for background information.

This whole show vs tell concept both bewilders and challenges my mind.

Begin your writing, fiction or article, where the action begins. This action can be internal (e.g., an important insight or personal decision) or external (e.g., a murder or calamity). Begin too early, you lose your reader. Begin too late, you lose your story.

Sometimes writing is just rubbing words together long enough to make a fire.

What nobody tells you is that spending an entire day being paid to do something you love is sometimes a lot less fun than spending an entire day doing something you love for free.

The good writing ideas don’t have to be about political turmoil, mass killings, capitalism, racism, injustice, etc. Find that one idea that has deep roots in your heart.

I'm my characters' galley slave.

What do you want? What are you willing to give up to get it? Writing requires you make sacrifices. Be prepared to work hard to be a writer.

What I don't write is as important as what I write.

Being a writer is not just about typing. It’s also about surviving the rollercoaster of the creative journey.

I’ve come to the end of another book alive. At times like this I’m always at a loss for words.

How hard can writing be? After all, most of the words are going to be 'and,' 'the,' and 'I,' and 'it,' and so on, and there's a huge number to choose from, so a lot of the work has been done for you.

Most—but not all—of the writers I knew then were young men who cherished their independence, were unconcerned about job security, and were serious about their writing. They didn’t want to be anyone’s employee if it interfered with their writing. They were halfway or all the way outside the mainstream and were often not interested in becoming part of the burgeoning corporate society. They had more freedom than your average American.

For the writer, the process of writing a novel is like getting an advanced copy of a book you'd really like to read.

If you start to revise before you've reached the end, you're likely to begin dawdling with the revisions and putting off the difficult task of writing.

If any man wish to write in a clear style, let him be first clear in his thoughts.

In the book (Savvy Stories) you see some very real, very personal moments. The first week of Savvy’s life was the longest week of ours. We spent five days in the NICU (Neonatal Intensive Care Unit) worrying that our newborn daughter might die. It was touch and go for a while, and it was extremely difficult to write about. Chapter two gets a lot of people crying. But because we put that honesty out there, readers said “Okay, I can trust this guy.” Then they were better able to laugh with us, too.

Each time I write, I reaffirm my soul.

In my opinion it is not the writer's job to solve such problems as God, pessimism, etc; his job is merely to record who, under what conditions, said or thought what about God or pessimism. The artist is not meant to be a judge of his characters and what they say; his only job is to be an impartial witness. I heard two Russians in a muddled conversation about pessimism, a conversation that solved nothing; all I am bound to do is reproduce that conversation exactly as I heard it. Drawing conclusions is up to the jury, that is, the readers. My only job is to be talented, that is, to know how to distinguish important testimony from unimportant, to place my characters in the proper light and speak their language.

I’ve learned that the creative life may or may not be the apex of human civilization, but either way it’s not what I thought it was. It doesn’t make you special and sparkly. You don’t have to walk alone. You can work in an office — I’ve worked in offices for the past 15 years and written five novels while doing it. The creative life is forgiving: You can betray it all you want, again and again, and no matter how many times you do, it will always take you back.

However great a man's natural talent may be, the act of writing cannot be learned all at once.

Look for the clutter in your writing and prune it ruthlessly. Be grateful for everything you can throw away. Reexamine each sentence you put on paper. Is every word doing new work? Can any thought be expressed with more economy? Is anything pompous or pretentious or faddish? Are you hanging on to something useless just because you think it's beautiful?...Simplify, simplify.

grows like a seed in the dark out of the leaf-mould of the mind: out of all that has been seen or thought or read, that has long ago been forgotten, descending into the deeps.

An author is like an incompetent bricklayer - doesn't use mortar and keeps rearranging the bricks until someone tells him to stop.

If God inspires your writing, others will know because it will inspire them when they read it.

It was a miracle to me, this transformation of my acorns into an oak.

I realized that my life of late had consisted of far too much dialogue and not enough exposition. I imagined an angry, bespectacled English teacher slashing his pen through the transcript of my life, wondering how someone could possibly say so much and think so little.

Formula for success: rise early, work hard, strike oil. J.Paul Getty

Writing novels is the hardest thing I've ever done, including digging irrigation ditches.

Storytellers don't show, they tell. I'm sticking with that.

Most people say, “Show, don’t tell,” but I stand by Show and Tell, because when writers put their work out into the world, they’re like kids bringing their broken unicorns and chewed-up teddy bears into class in the sad hope that someone else will love them as much as they do.

Be true to the writer within you; tell the story you're dying to tell in exactly the way you wish to tell it, and don't trust anyone who tries to sway you otherwise.

The best lie is the one that has an element of truth, so it’s good to include something real in your fiction.

I think there are two types of writers, the architects and the gardeners. The architects plan everything ahead of time, like an architect building a house. They know how many rooms are going to be in the house, what kind of roof they're going to have, where the wires are going to run, what kind of plumbing there's going to be. They have the whole thing designed and blueprinted out before they even nail the first board up. The gardeners dig a hole, drop in a seed and water it. They kind of know what seed it is, they know if planted a fantasy seed or mystery seed or whatever. But as the plant comes up and they water it, they don't know how many branches it's going to have, they find out as it grows. And I'm much more a gardener than an architect.

In quickness is truth. The more swiftly you write, the more honest you are. In hesitation is thought. In delay comes the effort for a style, instead of leaping upon truth which is the only style worth deadfalling or tiger-trapping.

For the vision of a novelist is both complex and specialised; complex, because behind his characters and apart from them must stand something stable to which he relates them; specialised because since he is a single person with one sensibility the aspects of life in which he can believe with conviction are strictly limited

...each part of a story, each word if possible, was to work frontally as well as laterally... ("Conveyance: The Story I would Not Want Bill Wilson To Read")

This is the secret to mastering any discipline: as you conquer one, you'll find it easier to tackle another.

She logged in and read a few of her old posts, smiling at the issues she had raged about and shaking her head at how some of the rants now seemed pretentious and judgmental. She had grown so much without even realizing she had. Mythili typed out the draft, spicing it up subtly and after a last read, she published it. Admiring the brand new post on her main page, she realized she missed writing. She had barely written anything since her last by-line. Typing this out, she felt like she was back with a long-lost friend who understood her. It was like snuggling up in a warm blanket when a thunderstorm raged outside.

Thousands of years ago, there were no writers; just storytellers. I would love to be a storyteller but I am just a writer. I don’t appeal to the ears; I appeal to the mind.

Writing doesn’t get any easier with time or talent. If writing is easy for you, you’re probably still learning the craft. You haven’t perfected your style or landed upon your “voice.” You haven’t learned to analyze your writing with a critical eye, to rip it apart and figure out why it isn’t doing exactly what you want.

Always remember that writing is an alliance between author and reader. With every line we put down on the page, we need to leave room for the reader's imagination and intellect.

And doesn't a writer do the same thing? Isn't she knitting together scraps of dreams? She hunts down the most vivid details and links them in sequences that will let a reader see, smell, and hear a world that seems complete in itself; she builds a stage set and painstakingly hides all the struts and wires and nail holes, then stands back and hopes whoever might come to see it will believe.

The hard part is putting one word after another.

If a pen can communicate our thoughts, dreams, and emotions and be the voice of our soul, then ink is the medium that carries the message.

It's hell writing and it's hell not writing. The only tolerable state is having just written.

In Edmund Gosse, Agnes Smedley, Geoffrey Wolff, we have a set of memoirists whose work records a steadily changing idea of the emergent self. But for each of them a flash of insight illuminating that idea grew out of the struggle to clarify one's own formative experience; and in each case the strength and beauty of the writing lie in the power of concentration with which this insight is pursued, and made to become the the writer's organizing principle. That principle at work is what makes a memoir literature rather than testament.

The business of the novelist is not to relate great events, but to make small ones interesting.