Writers on WritingAuthors about writing
Vocabulary, poets, writers, essayists, journalists and scientists remember an advice or experience that was most helpful for their writing careers.
Hemingway, Didion, Baldwin, Fitzgerald, Sunday, Vonnegut, Bradbury, Morrison, Orwell and other literature icon.
Hemingway, Didion, Baldwin, Fitzgerald, Sunday, Vonnegut, Bradbury, Morrison, Orwell and other literature icon. In response to many requests, I have compiled a regularly revised readinglist with all the renowned writing tips presented here over the years, with words of fame from master writers such as Kurt Vonnegut, Susan Sontag, Henry Miller, Stephen King, F. Scott Fitzgerald, Susan Orlean, Ernest Hemingway, Zadie Smith and others.
This is Stephen King: Composition and the skill of "creative sleep": Identify the best authors, buy them for writing and prevent typing errors at all cost. The difficult to grasp talent of combining the rigour of craftsmanship with the flexibility of appeal.
Twelve authors discuss the writing process
The New York Times Writers on Writing feature offered professionals the chance to "talk about their craft" for almost a decennium. The Writers on Writing, Band II : More Collected Essays from The New York Times (Times Books, 2004). Though most authors were authors of novels, the insight they provide into the writing experience should be of interest to all authors.
These are extracts from 12 of the writers who wrote "Writers on Writing".
Writing tips from writers (50 pieces)
Authors - well, good writers anyway - comprehend words. You have this eerie gift of know which ones to use when - and just think there are tens and tens of tens of thousands of people. So when a novelist is writing about writing, it is rewarding to take it. Particularly if you are a prospective man (or woman) of deeds.
Authors Writing About Writers Writing
Except you are, shall we say, Philip Roth, it is difficult to understand why you as a novelist ever want to talk about the writer's entire existence, with all his hassle, dullness, despair und indifference. Indeed, your author's world is so rich in human beings, views, memories, moments as well as incidents that it is difficult for you not to post about it.
Not only is your fictitious alderman Nathan Zuckerman wealthy and acclaimed in this volume, he is enjoying all the amenities of an apartment in Manhattan, an oncoming lover, the comfort of three costly divorce, a clique of irritable and talkative boyfriends, and a poor back so interesting that he wants his own novel.
When this is the best Roth can do, you tend to think, then writers who are writing about writers - or fail to do so - should be out of pure avoidance with politics autobiography and book investing advice out there. Astronauts' lives, on the other side, yes, that could attract a lot of people.
Anything but writing about the authorýs average dayýs neurosophical inner self - just interrupted by casual excursions to the local libraries. There are other writers who have been writing about writing, and their endeavours are similarly difficult. The golden notebook succeeds in being a great - and at the same truely evil - account of the writer's work.
There I said it: With all my resolve to express a new awareness, the way big politics intervene in the microcosm of fate and the author's own relations, the Golden Notebook is a) silly and b) about twice as long as it should be.
One hundred pages later she explains: "I have chosen never to type again. Another Nobel Prize winner, Saul Bellow, turned down several books, including Humboldt's gift - a novelist who writes about a novelist who writes about another one. Winner or not, this is just as difficult to savour as the Golden Notebook, only more.
A. S. Byatt's Possession tries to revive the idea by introducing an aspect of painterly writing of history; but it also failed - at least for this readership - on the road to failing in the footsteps of Nabokov's Pale Fire. This was a novel that years ago, when I first started reading it, seemed unpredictably wise, but now, like the others, seems depressively tense and dry.
The writer, and Kinbote, the untrustworthy explainer - for what seems an awful long while. This impressingly false novel immerses the writer deeply into the source of creating by allowing his alter-ego to have a long and unpleasant talk with Erato, the lyrical musician. If you haven't been reading Mantissa, you can't know how horrible it is.
This is a serious and serious publication about the fact that the volume begins with the official statement "A brief excerpt from Mantissa was first released in 1981 in the journal Antaeus". Nevertheless, the authors in dispute clearly considered it useful to write these books and the editors considered it useful to publish them.
There are many other similar endeavors, from Stephen King to Martin Amis. Why would the reader want to see them? Are these involved fiction somewhat topical because so many people think they could also be writers? The fact that the divide that divides the creative from the consuming is so small - especially today, in a writing and push-button self-publishing environment - that insight into the profession is possible?
Has it ( (the thought passes) because the character of the author is still halogenated, still cultural numbered? This would explain the evenness with which the reader appears to listen to writers speak: just to be in the same room, to breath the same aeration. Might it even be that writers who seem to have freed themselves from the pressures and responsibilities of ordinary living are simply too different (the bastard jammy) not to want to emu?
At a literature fest, I recall another non-fiction book novelist who breathes deeply into his drink and gasps: "I never wanted to be anything but a writer"; and the dramatist and movie producer Christopher Hampton, who happens to sit at the next desk and looks at him with a horrible mix of compassion, contempt and indignation.
There is still the itchy feeling of writing and reading about writing: Freya North, a famous author, has just released The Turning Point - a novel in which a woman author is writing about her writer's work. Did anyone manage to capture the real heart of writing? I' m only approached by Michael Frayn in his classic Towards the End of the Morning, The Tin Men and Sweet Dreams.
Well, Frayn never wanted to consider them as a trialogy, but I will group them anyway, because together they make a perfectly divine comedy of the writer's world. He is a profoundly unimportant contributor to a large domestic paper; he strives for greater things; a way out gets in his way; he blasts them; he ends up where he began, forever sentenced to hell of inconsequence.
We' re looking into his effort from case to case - and it's becoming more and more obvious that instead of being able to find his own sound, he's imprisoned and defenselessly recycles other, more succesful sound. It' always terrible, depressing, fun. But, because that's Purgatorio, there's hope: when he gets to his last misstart - the agonizing beat/jazz stitches - he realizes that maybe it's best to leave novels to someone else.
Sweet Dreams isn't supposed to be about writing. It is a clear and unambiguous vision in which inconsistencies and nonconsequences are gladly accepted and all failure of one' s own lives is turned into blessed success. It is also a flawless novella of the self, the pharmotheosis of a novelist. Now, if you reread Sweet Dreams in this way, it blends seamlessly into the pattern of Divine Comedy: a development from perpetual slog to fleeing the agony of writing and finally to a celestial invention in which author and history are the same.
What about this novelist? That'?s the way we writers actually work, I think. He is a novelist, reporter and casual station. Sediment, his latest work, won the John Avery Award in 2014.