Every word I write is like a drop of my blood. If it's flowed passionately and long, I need time to recover from the emotion spent before I began a new story. My characters are my life. I have to respectfully and carefully move between them.
The root difficulty in all cases was the state of being blind and deaf to words-- not seeing the words for the prose. Being adults, they had forgotten what every child understands, which is giving and taking a meaning is not automatic and inevitable
I always tell my writing students that every good piece of writing begins with both a mystery and a love story. And that every single sentence must be a poem. And that economy is the key to all good writing. And that every character has to have a secret.
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.
Readers have a loyalty that cannot be matched anywhere else in the creative arts, which explains why so many writers who have run out of gas can keep coasting anyway, propelled on to the bestseller lists by the magic words AUTHOR OF on the covers of their books.
Rules such as "Write what you know," and "Show, don't tell," while doubtlessly grounded in good sense, can be ignored with impunity by any novelist nimble enough to get away with it. There is, in fact, only one rule in writing fiction: Whatever works, works.
...and above all, you should not think of writing as a way of earning your living. If you do, your work will smell of your poverty. It will be colored by your weakness and be as thin as your hunger. There are other trades which you can take up: make boots, not books.
To write a genuine familiar or truly English style, is to write as any one would speak in common conversation who had a thorough command and choice of words, or who could discourse with ease, force, and perspicuity, setting aside all pedantic and oratorical flourishes.
You need three things to become a successful novelist: talent, luck and discipline. Discipline is the one element of those three things that you can control, and so that is the one that you have to focus on controlling, and you just have to hope and trust in the other two.
To my mind, the most important thing in any form of fiction is the human element, but only if it takes us beyond the everyday, into situations that examine the complexities that may fascinate or puzzle us. To dwell on the mundane as some kind of a writing exeercise is useless.
...ugly interlopers threaten to choke off your story, depriving it of much-needed nutrition, sunlight and water. Identify and cut those weeds – the life-sucking adverbs, the shade-killing descriptions that don’t move the story forward, the crowding passive voice sentences.
A writer's problem does not change. He himself changes and the world he lives in changes but his problem remains the same. It is always how to write truly and, having found what is true, to project it in such a way that it becomes a part of the experience of the person who reads it.
Writing is for men who can think and feel, not mindless sensation seekers out of nightclubs and bars. But these are bad times. We are condemned to work with upstarts, clowns who no doubt got their training in a circus and then turned to journalism as the appropriate place to display their tricks.
The best ending ever, for a science fiction book - or any novel, now that I think about it - was in Rendezvous With Rama. You know that you're at the end of the book and yet, there is no resolution. Then he hits you with those last six words. Better yet, the power is in the very last word. Wow!
A successful story always offers its audience more than a simple resolution of events. A story offers a dramatic affirmation of human needs that are acted out to resolution and fulfillment. Even when that resolution and fulfillment are dark, the journey can still be vivid, potent and illuminating.
