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You may be able to take a break from writing, but you won’t be able to take a break from being a writer.
I have long felt that any reviewer who expresses rage and loathing for a novel is preposterous. He or she is like a person who has just put on full armor and attacked a hot fudge sundae or banana split.
To me, movies and music go hand in hand. When I’m writing a script, one of the first things I do is find the music I’m going to play for the opening sequence.
I write the last line, and then I write the line before that. I find myself writing backwards for a while, until I have a solid sense of how that ending sounds and feels. You have to know what your voice sounds like at the end of the story, because it tells you how to sound when you begin.
When writing a novel, that’s pretty much entirely what life turns into: “House burned down. Car stolen. Cat exploded. Did 1,500 easy words, so all in all it was a pretty good day.”
Every writer with half a brain knows to surround himself or herself with editors who are smarter, far more articulate and infinitely better looking.
No one can write decently who is distrustful of the reader’s intelligence or whose attitude is patronizing.
A true author, no matter the medium, is an artist with godlike knowledge of his subject, and the proof of his authorship is that his pages smack of authority.
The most valuable of all talents is that of never using two words when one will do.
Keep a small can of WD-40 on your desk — away from any open flames — to remind yourself that if you don’t write daily, you will get rusty.
I do not over-intellectualize the production process. I try to keep it simple: Tell the damned story.
Editor: A person employed by a newspaper, whose business it is to separate the wheat from the chaff, and to see that the chaff is printed.
Anecdotes don’t make good stories. Generally, I dig down underneath them so far that the story that finally comes out is not what people thought their anecdotes were about.
If my poetry aims to achieve anything, it’s to deliver people from the limited ways in which they see and feel.
It begins with a character, usually, and once he stands up on his feet and begins to move, all I can do is trot along behind him with a paper and pencil, trying to keep up long enough to put down what he says and does.


























