Becoming a writer is about becoming conscious. When you're conscious and writing from a place of insight and simplicity and real caring about the truth, you have the ability to throw the lights on for your reader. He or she will recognize his or her life and truth in what you say, in the pictures you have painted, and this decreases the terrible sense of isolation that we have all had too much of.
Aspiring novelists should be taught that the old adage, “Write about what you know,” isn’t limited to what you have personally experienced. Vicarious experience is also a great part of what you know. Read a lot of history and it becomes part of your store of knowledge, part of what you’re prepared to write about. The same goes for stories and memories that other people share with you.
I have a hardcore attitude: a “self-published, ghost-written book” is wrong because the concept behind self publishing is that you have knowledge or emotions that you want to express. Whenpeople read a book—particularly a self-published one—they have the right to expect that it’s the person’s writing, not cleaned-up dictation or slapping a name on a book that someone else wrote.
Whenever I listen to an artist or an art historian I'm struck by how much they see and how much they know--and how much I don't.Good art writing should therefore do at least two things. It should teach us how to look: at art, architecture, sculpture, photography and all the other visual components of our daily landscape. And it should give us the information we need to understand what we're looking at.
I have an idea and a first line -- and that suggests the rest of it. I have little concept of what I’m going to say, or where it’s going. I have some idea of how long it’s going to be -- but not what will happen or what the themes will be. That’s the intrigue of doing it -- it’s a process of discovery. You get to discover what you’re going to say and what it’s going to mean.
If you are serious, and you want to make a living as an author, then you need to hustle. Period. If you can't make that quality, then you need to concentrate on your craft and practice more. One other thing, quality comes with practice. If you are prolific, then you become a better writer because you are writing. The more you do anything the better at it you will become. So in a way, quantity does add to quality.
Let the writer take up surgery or bricklaying if he is interested in technique. There is no mechanical way to get the writing done, no shortcut. The young writer would be a fool to follow a theory. Teach yourself by your own mistakes; people learn only by error. The good artist believes that nobody is good enough to give him advice. He has supreme vanity. No matter how much he admires the old writer, he wants to beat him.
Writing is a muscle. Smaller than a hamstring and slightly bigger than a bicep, and it needs to be exercised to get stronger. Think of your words as reps, your paragraphs as sets, your pages as daily workouts. Think of your laptop as a machine like the one at the gym where you open and close your inner thighs in front of everyone, exposing both your insecurities and your genitals. Because that is what writing is all about.
Very early on, near the beginning of my writing life, I came to believe that I had to seize on some object outside of literature. Writing as a sylistic exercise seemed barren to me. Poetry as the art of the word made me yawn. I also understood that I couldn't sustain myself very long on the poems of others. I had to go out from myself and literature, look around in the world and lay hold of other spheres of reality.
The only way you'll find out if you "have it in you" is to get to work and see if you do. The only way to override your "limitations, insecurities, jealousies, and ineptitude" is to produce. You have limitations. You are in some way inept. This is true of every writer, and it's especially true of writers who are twenty-six. You will feel insecure and jealous. How much power you give those feelings is entirely up to you.
If something inside of you is real, we will probably find it interesting, and it will probably be universal. So you must risk placing real emotion at the center of your work. Write straight into the emotional center of things. Write toward vulnerability. Risk being unliked. Tell the truth as you understand it. If you’re a writer you have a moral obligation to do this. And it is a revolutionary act—truth is always subversive.
Fiction---good fiction, anyway---is dream made flesh, given purpose and drive, and set on a quest to show us the best in us and to give us the power and the tools to dream beyond reality's 'merely good enough' to a vision of what is truly great......and then to give us the stories of men and women of character who in turn inspire those of us who dare to reach for the truly great within ourselves.THAT is why you write fiction.
Novels were not arguments; a story worked, or it didn't, on its own merits. What did it matter if a detail was real or imagined? What mattered was that the detail seemed real, and that it was absolutely the best detail for the circumstance. That wasn't much of a theory, but it was all Ruth could truly commit herself to at the moment. It was time to retire that old lecture, and her penance was to endure the compliments of her former credo.
Francie always remembered what that kind teacher told her. “You know, Francie, a lot of people would think that these stories that you’re making up all the time were terrible lies because they are not the truth as people see the truth. In the future, when something comes up, you tell exactly how it happened but write down for yourself the way you think it should have happened. Tell the truth and write the story. Then you won’t get mixed up.
It is only when you open your veins and bleed onto the page a little that you establish contact with your reader. If you do not believe in the characters or the story you are doing at that moment with all your mind, strength, and will, if you don't feel joy and excitement while writing it, then you're wasting good white paper, even if it sells, because there are other ways in which a writer can bring in the rent money besides writing bad or phony stories.
