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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.
In Hollywood, the woods are full of people that learned to write but evidently can’t read. If they could read their stuff, they’d stop writing.
It is only natural to pattern yourself after someone. But you can’t just copy someone. If you like someone’s work, the important thing is to be exposed to everything that person has been exposed to.
A writer without interest or sympathy for the foibles of his fellow man is not conceivable as a writer.
Every writer with half a brain knows to surround himself or herself with editors who are smarter, far more articulate and infinitely better looking.
I get up in the morning, torture a typewriter until it screams, then stop.
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.
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.
Critics are people who sit on the mountaintop and look down on the battlefield. When the fighting is finished, they take it upon themselves to come down from the mountain and shoot the survivors.
I do not over-intellectualize the production process. I try to keep it simple: Tell the damned story.
The reason 99% of all stories written are not bought by editors is very simple. Editors never buy manuscripts that are left on the closet shelf at home.
Reading and weeping opens the door to one’s heart, but writing and weeping opens the window to one’s soul.
Do not place a photograph of your favorite author on your desk, especially if the author is one of the famous ones who committed suicide.

























