"Beware of self-indulgence. The romance surrounding the writing profession carries several myths: that one must suffer in order to be creative; that one must be cantankerous and objectionable in order to be bright; that ego is paramount over skill; that one can rise to a level from which one can tell the reader to go to hell. These myths, if believed, can ruin you.
If you believe you can make a living as a writer, you already have enough ego."
— David Brin (via writingquotes)

"To the composition of novels and romances, nothing is necessary but paper, and ink, with the manual capacity of using them."
— Henry Fielding (via writingquotes)

"Rereading parts of your novel while writing is like doubling back at rerunning parts of a marathon midrace."
— Chris Baty (via rphelper)

Source: diy-author

"Rejected pieces aren’t failure; unwritten pieces are."
— Greg Daugherty (via planb-becomeapirate)

Source: writingquotes

"People say to write about what you know. I’m here to tell you, no one wants to read that, because you don’t know anything. So write about something you don’t know. And don’t be scared, ever."
— Toni Morrison (via ktempest)

Source: maxkirin

"Others may write from the head, but he writes from the heart, and the heart will always understand him."
— Washington Irving (via writingquotes)

"

And here, the biggest lesson of them all, and a summation of all the problems.

You are in the way of your story.

Hard truth: writing is actually not that important.

Writing is a mechanism.

It’s an inelegant middleman to what we do. It’s a shame, in some ways, that we even call ourselves writers, because it describes only the mechanical act of what we do. It’s a vital mechanism, sure, but by describing it as the prominent thing, it tends to suggest, well, prominence.

But our writing must serve story.

Story does not serve writing.

This is cart-before-horse stuff, but important to realize.

Listen, in what we do there exist three essential participants.

We have:

The tale, the teller of the tale, and the listener of the tale.

Story. Author. And audience.

That’s it.

You are two-thirds of that equation. You are the story (or, by proxy, its architect) and the teller of the story. The telling of the story is most often done through writing — through that mechanical act, and because it’s the act you can sit and watch, it’s the one that is used to describe our role. I AM WRITER, you say, and so you focus so much on the actual writing you forget that there’s this other invisible — but altogether more critical — part, which is what you’re writing.

So, what happens is, early on, you put so much on the page. You write and write and write and use too many words and too much exposition and big meaty paragraphs and at the end all it serves to do is create distance between the tale and the listener of the tale.

It keeps the audience at arm’s length.

Quit that shit.

Bring the audience into the story. This is at the heart of show, don’t tell — which is a rule that can and should be broken at times, but at its core remains a reasonable notion: don’t talk at, don’t preach, don’t lecture, don’t fill their time with unnecessary wordsmithy.

Get. To. The. Point.

"

Source: vickiexz

"Listen carefully to first criticisms made of your work. Note just what it is about your work that critics don’t like - then cultivate it. That’s the only part of your work that’s individual and worth keeping."
— Jean Cocteau (via writersrelief)

"More and more I think there’s an element of fiction writing that’s performative. If you want your stories to carry a particular charge of feeling, you have to experience that feeling while you’re working. I don’t know that you can fake it, or at least I don’t know that I’ve ever been able to fake it, because the choices you make when you’re writing—the rhythms you adopt, the phrases you construct, the effect one word has when it’s nestled alongside another—are so highly nuanced, and have so much to do with the ultimate emotional effect of a story, so that if you aren’t feeling along with your sentences, your instincts will gradually lead you astray."

The Rumpus Interview With Kevin Brockmeier

This is, no surprise, really really great.

(via therumpus)


Source: therumpus.net

"I never asked Tolstoy to write for me, a little colored girl in Lorain, Ohio. I never asked [James] Joyce not to mention Catholicism or the world of Dublin. Never. And I don’t know why I should be asked to explain your life to you. We have splendid writers to do that, but I am not one of them. It is that business of being universal, a word hopelessly stripped of meaning for me. Faulkner wrote what I suppose could be called regional literature and had it published all over the world. That’s what I wish to do. If I tried to write a universal novel, it would be water. Behind this question is the suggestion that to write for black people is somehow to diminish the writing. From my perspective there are only black people. When I say ‘people,’ that’s what I mean."
— Toni Morrison (via writingquotes)

Source: writingquotes