Novel writing wrecks homes.
The central problem of novel-writing is causality.
Almost anyone can be an author; the business is to collect money and fame from this state of being.
My own experience is that once a story has been written, one has to cross out the beginning and the end. It is there that we authors do most of our lying.
Writing is like driving at night in the fog. You can only see as far as your headlights, but you can make the whole trip that way.
Not that the story need be long, but it will take a long while to make it short.
There is no greater agony than bearing an untold story inside you.
There are three rules for writing a novel. Unfortunately, no one knows what they are.
You learn by writing short stories. Keep writing short stories. The money's in novels, but writing short stories keeps your writing lean and pointed.
It's none of their business that you have to learn how to write. Let them think you were born that way.
I love deadlines. I like the whooshing noise they make as they go by.
If you write one story, it may be bad; if you write a hundred, you have the odds in your favor.
It is perfectly okay to write garbage – as long as you edit brilliantly.
Everytime I read 'Pride and Prejudice' I want to dig her up and beat her over the skull with her own shin-bone.
I'm a failed poet. Maybe every novelist wants to write poetry first, finds he can't, and then tries the short story, which is the most demanding form after poetry. And, failing at that, only then does he take up novel writing.
There's many a bestseller that could have been prevented by a good teacher.
I am irritated by my own writing. I am like a violinist whose ear is true, but whose fingers refuse to reproduce precisely the sound he hears within.
A good novel tells us the truth about its hero; but a bad novel tells us the truth about its author.
There's no money in poetry, but then there's no poetry in money, either.
If you don't have the time to read, you don't have the time or the tools to write.
Everybody walks past a thousand story ideas every day.
Everywhere I go, I'm asked if I think the universities stifle writers. My opinion is that they don't stifle enough of them. There's many a best seller that could have been prevented by a good teacher.
A poet can survive everything but a misprint.
I haven't any right to criticize books, and I don't do it except when I hate them. I often want to criticize Jane Austen, but her books madden me so that I can't conceal my frenzy from the reader; and therefore I have to stop every time I begin. Every time I read Pride and Prejudice I want to dig her up and beat her over the skull with her own shin-bone.
Everybody walks past a thousand story ideas every day. The good writers are the ones who see five or six of them. Most people don't see any.
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