Even great, best selling writers produce works that fall flat from expectations. This writing thing isn't easy and everything you produce won't be a best seller, but you must write anyway. You have to write because you love it, because it fuels you, because you can feel the stories living inside you, nudging you, prodding you, itching to get out and the only thing worse than writing it and failing is not writing it. As the late Maya Angelou once said, "There is no greater agony than bearing an untold story inside you."Even if your work doesn't resonate with others, it is still worth writing. And that in itself, is what's important.

No writing is wasted. Did you know that sourdough from San Francisco is leavened partly by a bacteria called lactobacillus sanfrancisensis? It is native to the soil there, and does not do well elsewhere. But any kitchen can become an ecosystem. If you bake a lot, your kitchen will become a happy home to wild yeasts, and all your bread will taste better. Even a failed loaf is not wasted. Likewise, cheese makers wash the dairy floor with whey. Tomato gardeners compost with rotten tomatoes. No writing is wasted: the words you can't put in your book can wash the floor, live in the soil, lurk around in the air. They will make the next words better.

Don’t wait. Writers are the only artists I know of who expect to get somewhere by waiting. Everyone knows you have to dance to be a dancer, you have to sing to be a singer, you have to act to be an actor, but far too many people seem to believe that you. don’t have to write to be a writer. So, instead of writing, they wait. Isaac Asimov said it beautifully in just six words: “It’s the writing that teaches you.” Writing is what teaches you. Writing is what leads to “inspiration.” Writing is what generates ideas. Nothing else-and nothing less. Don’t meditate, don’t do yoga, don’t do drugs. Just write.

If you are writing a story, miracles or abnormal events may be bad art, or they may not. If, for example, you are writing an ordinary realistic novel and have got your characters into a hopeless muddle, it would be quite intolerable if you suddenly cut the knot and secured a happy ending by having a fortune left to the hero from an unexpected quarter. On the other hand there is nothing against taking as your subject from the outset the adventures of a man who inherits an unexpected fortune. The unusual event is perfectly permissible if it is what you are really writing about: it is an artistic crime if you simply drag it in by the heels to get yourself out of a hole.

I honestly think in order to be a writer, you have to learn to be reverent. If not, why are you writing? Why are you here? Let's think of reverence as awe, as presence in and openness to the world. The alternative is that we stultify, we shut down. Think of those times when you've read prose or poetry that is presented in such a way that you have a fleeting sense of being startled by beauty or insight, by a glimpse into someone's soul. All of a sudden everything seems to fit together or at least to have some meaning for a moment. This is our goal as writers, I think; to help others have this sense of -- please forgive me -- wonder, of seeing things anew, things that can catch us off guard, that break in on our small, bordered worlds.

So they spread the paintings on the lawn, and the boy explained each of them. "This is the school, and this is the playground, and these are my friends." He stared at the paintings for a long time and then shook his head in discouragement. "In my mind, they were a whole lot better."Isn't that the truth? Every morning, I go to my desk and reread yesterday's pages, only to be discouraged that the prose isn't as good as it seemed during the excitement of composition. In my mind, it was a whole lot better.Don't give in to doubt. Never be discouraged if your first draft isn't what you thought it would be. Given skill and a story that compels you, muster your determination and make what's on the page closer to what you have in your mind.

When I met a truly beautiful girl, I would tell her that if she spent the night with me, I would write a novel or a story about her. This usually worked; and if her name was to be in the title of the story, it almost always worked. Then, later, when we'd passed a night of delicious love-making together, after she’d gone and I’d felt that feeling of happiness mixed with sorrow, I sometimes would write a book or story about her. Sometimes her character, her way about herself, her love-making, it sometimes marked me so heavily that I couldn't go on in life and be happy unless I wrote a book or a story about that woman, the happy and sad memory of that woman. That was the only way to keep her, and to say goodbye to her without her ever leaving.

Thankfully existing only in SMALL pockets within our discipline, is “intellectual” snobbery. It’s a hushed but ugly truth that people are made to feel not worthy to be among a certain set – didn’t attend the right school or don’t have the requisite abbreviations to follow their name. I know what that feels like. Good thing I'm pigheaded, have a bigger vision and committed to my craft, or I would’ve succumbed to it long ago. That is why when I meet an emerging writer who’s serious about developing their craft, I try to encourage them as much as I can. I say IGNORE the highbrow cliques and prove your mettle by growing, accepting balanced feedback and most of all, creating work that will stand the test of time. Period.

Don't give in to doubt. Never be discouraged if your first draft isn't what you thought it would be. Given skill and a story that compels you, muster your determination and make what's on the page closer to what you have in your mind. The chances are that you'll never make them identical. That's one reason I'm still hitting the keyboard. Obsessed by the secrets of my past, I try to put metaphorical versions of them on the page, but each time, no matter how honest and hard my effort, what's in my mind hasn't been fully expressed, compelling me to keep trying. To paraphrase a passage from John Barth's "Lost in the Funhouse," I'll die telling stories to myself in the dark. But there's never enough time. There was never enough time.

Start telling the stories that only you can tell, because there’ll always be better writers than you and there’ll always be smarter writers than you. There will always be people who are much better at doing this or doing that - but you are the only you.Tarantino - you can criticize everything that Quentin does - but nobody writes Tarantino stuff like Tarantino. He is the best Tarantino writer there is, and that was actually the thing that people responded to - they’re going ‘this is an individual writing with his own point of view’.There are better writers than me out there, there are smarter writers, there are people who can plot better - there are all those kinds of things, but there’s nobody who can write a Neil Gaiman story like I can.

We’re at this really unique time, I think, in trans representation in popular culture where homelessness, depression, mental health issues, instability-in-general are still so very real and need to be talked about, but we’re aware that they’ve dominated “trans” stories for years and years. And we’re now finally at a place where we’re seeing some really positive representations of trans folks in pop culture, and there’s this new pressure -- at least, I feel it, within trans and trans-ally communities -- to only focus on the positive. Because we’re trying, in some sense, to overcompensate for the years and years of too much negativity. As a writer, you might feel a pressure to push the negative stuff away. But there are consequences for that too. Anyone who’s working with trans characters right now is going to have to reconcile that tension.

Your story is not a picture of life; it lacks the elements of truth. And why? Simply because you run straight on to the end; because you do not analyze. Your heroes do this thing or that from this or that motive, which you assign without ever a thought of dissecting their mental and moral natures. Our feelings, you must remember, are far more complex than all that. In real life every act is theresultant of a hundred thoughts that come and go, and theseyou must study, each by itself, if you would create a livingcharacter. 'But,' you will say, 'in order to note these fleetingthoughts one must know them, must be able to follow them in their capricious meanderings.You have simply to make use of hypnotism, electrical or human, which gives one a two-fold being, setting free the witness-personality so that it may see, understand, and remember the reasons which determine the personality that acts.

On Hayao MiyazakiI told Miyazaki I love the "gratuitous motion" in his films; instead of every movement being dictated by the story, sometimes people will just sit for a moment, or they will sigh, or look in a running stream, or do something extra, not to advance the story but only to give the sense of time and place and who they are."We have a word for that in Japanese," he said, "It's called ma. Emptiness. It's there intentionally."Is that like the "pillow words" that separate phrases in Japanese poetry? "I don't think it's like the "pillow word." He clapped his hands three or four times. "The time in between my clapping is ma. If you just have non-stop action with no breathing space at all, it's just busyness, but if you take a moment, then the tension building in the film can grow into a wider dimension. If you just have constant tension at 80 degrees all the time you just get numb.

It's basically an act of faith, hoping that a small idea will unspool into a bigger whole. Sometimes, in fact often, it doesn't and it just runs out of steam. The hope for me is that it will snowball. the best way to put it is that I have no particular method or technique per se, other than this: I plan nothing, I outline nothing, I start with an idea or an image or a line of dialogue and see where it leads me. Because I never know what the next page will contain, let alone the end of the book, I am perpetually surprised by the course that my characters take. The writing process is as full of surprises and twists for me as the reading experience is for my readers. I love the spontaneity of writing this way, the possibilities left open, the feeling that I am not constrained or committed to any given path. Every day, I am surprised by something. It may not be the most efficient way of writing, but it has served me well thus far.

The beautiful unruliness of literature is what makes it so much fun to wander through: you read Jane Austen and you say, oh, that is IT. And then you turn around and read Sterne, and you say, Man, that is IT. And then you wander across a century or so, and you run into Kafka, or Calvino, or Cortazar, and you say, well that is IT. And then you stroll through what Updike called the grottos of Ulysses, and after that you consort with Baldwin or Welty or Spencer, or Morrison, or Bellow or Fitzgerald and then back to W. Shakespeare, Esq; the champ, and all the time you feel the excitement of being in the presence of IT. And when you yourself spend the good time writing, you are not different in kind than any of these people, you are part of that miracle of human invention. So get to work. Get on with IT, no matter how difficult IT is. Every single gesture, every single stumble, every single uninspired-feeling hour, is worth IT." Richard Bausch