Concentrate your narrative energy on the point of change. This is especially important for historical fiction. When your character is new to a place, or things alter around them, that’s the point to step back and fill in the details of their world. People don’t notice their everyday surroundings and daily routine, so when writers describe them it can sound as if they’re trying too hard to instruct the reader.
quotes for writers
A character who yearns
All works of fiction are built around a character who yearns, and if you’re in touch with what the character is yearning for, then every detail is filtered through that emotional center.
Neil Gaiman: Make Good Art
When you start out on a career in the arts you have no idea what you are doing. This is great. People who know what they are doing know the rules, and know what is possible and impossible. You do not. And you should not. The rules on what is possible and impossible in the arts were made by people who had not tested the bounds of the possible by going beyond them. And you can.
Neil Gaiman, “Make Good Art” (read it here)
The Silence
Q: Looking back, how do you recall your 50-plus years as a writer?
Roth: Exhilaration and groaning. Frustration and freedom. Inspiration and uncertainty. Abundance and emptiness. Blazing forth and muddling through. The day-by-day repertoire of oscillating dualities that any talent withstands — and tremendous solitude, too. And the silence: 50 years in a room silent as the bottom of a pool, eking out, when all went well, my minimum daily allowance of usable prose.
After you finish
After you finish a book, you know, you’re dead. But no one knows you’re dead. All they see is the irresponsibility that comes in after the terrible responsibility of writing.
Leon Uris: Research feeds your writing
Research to me is as important or more important than the writing. It is the foundation upon which the book is built.
Leon Uris
Quote of the Day
Be daring, be different, be impractical, be anything that will assert integrity of purpose and imaginative vision against the play-it-safers, the creatures of the commonplace, the slaves of the ordinary.
Cecil Beaton
Fitzgerald: “utter helplessness”
I am thirty-six years old. For eighteen years save for a short space during the war writing has been my chief interest in life, and I am in every sense a professional. Yet even now when, at the recurrent cry of “Baby Needs Shoes,” I sit down facing my sharpened pencils and a block of legal-sized paper, I have a feeling of utter helplessness. I may write my story in three days or, as is more frequently the case, it may be six weeks before I have assembled anything worthy to be sent out. I can open a volume from a criminal law library and find a thousand plots. I can go into highway and byway, parlor and kitchen, and listen to personal revelations that at the hands of other writers might endure forever. But all that is nothing — not even enough for a false start.
F. Scott Fitzgerald, “One Hundred False Starts” (1933)