There is a stereotype out there about writers. They’re talented and frustrated and hit the bottle way too often. Maybe the reason some talented writers are frustrated and drink to excess is because of what they’re asked to write. Example:

My own experience is that once a story has been written, one has to cross out the beginning and the end. It is there that we authors do most of our lying.
Do you know what a playwright is? A playwright is someone who lets his guts hang out on the stage.
Asking a working writer what he thinks about critics is like asking a lamppost how it feels about dogs.
Every writer with half a brain knows to surround himself or herself with editors who are smarter, far more articulate and infinitely better looking.
Everybody walks past a thousand story ideas every day. The good writers are the ones who see five or six of them. Most people don’t see any.
No one can write decently who is distrustful of the reader’s intelligence or whose attitude is patronizing.
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.
Writing has laws of perspective, of light and shade, just as painting does, or music. If you are born knowing them, fine. If not, learn them. Then rearrange the rules to suit yourself.
I have a structured songwriting process. I start with the music and try to come up with musical ideas, then the melody, then the hook, and the lyrics come last.
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.
Ever heard of a carpenter not going to work because he has “carpenter’s block”? If a writer can’t write, it’s because he doesn’t really want to, he isn’t ready to get it on paper or he’s just plain lazy.
It took me fifteen years to discover I had no talent for writing, but I couldn’t give it up because by that time I was too famous.
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.
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.
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.

























