"If there is a magic in story writing, and I am convinced there is, no one has ever been able to reduce it to a recipe that can be passed from one person to another. The formula seems to lie solely in the aching urge of the writer to convey something he feels important to the reader. If the writer has that urge, he may sometimes, but by no means always, find the way to do it. You must perceive the excellence that makes a good story good or the errors that makes a bad story. For a bad story is only an ineffective story.”
- Use the time of a total stranger in such a way that he or she will not feel the time was wasted.
- Give the reader at least one character he or she can root for.
- Every character should want something, even if it is only a glass of water.
- Every sentence must do one of two things-reveal character or advance the action.
- Start as close to the end as possible.
- Be a Sadist. No matter how sweet and innocent your leading characters, make awful things happen to them-in order that the reader may see what they are made of.
- Write to please just one person. If you open a window and make love to the world, so to speak, your story will get pneumonia.
- Give your readers as much information as possible as soon as possible. To hell with suspense. Readers should have such complete understanding of what is going on, where and why, that they could finish the story themselves, should cockroaches eat the last few pages.
- Abandon the idea that you are ever going to finish. Lose track of the 400 pages and write just one page for each day, it helps. Then when it gets finished, you are always surprised.
- Write freely and as rapidly as possible and throw the whole thing on paper. Never correct or rewrite until the whole thing is down. Rewrite in process is usually found to be an excuse for not going on. It also interferes with flow and rhythm which can only come from a kind of unconscious association with the material.
- Forget your generalized audience. In the first place, the nameless, faceless audience will scare you to death and in the second place, unlike the theater, it doesn’t exist. In writing, your audience is one single reader. I have found that sometimes it helps to pick out one person—a real person you know, or an imagined person and write to that one.
- If a scene or a section gets the better of you and you still think you want it—bypass it and go on. When you have finished the whole you can come back to it and then you may find that the reason it gave trouble is because it didn’t belong there.
- Beware of a scene that becomes too dear to you, dearer than the rest. It will usually be found that it is out of drawing.
- If you are using dialogue—say it aloud as you write it. Only then will it have the sound of speech.
- Scribbled secret notebooks, and wild typewritten pages, for yr own joy
- Submissive to everything, open, listening
- Try never get drunk outside yr own house
- Be in love with yr life
- Something that you feel will find its own form
- Be crazy dumbsaint of the mind
- Blow as deep as you want to blow
- Write what you want bottomless from bottom of the mind
- The unspeakable visions of the individual
- No time for poetry but exactly what is
- Visionary tics shivering in the chest
- In tranced fixation dreaming upon object before you
- Remove literary, grammatical and syntactical inhibition
- Like Proust be an old teahead of time
- Telling the true story of the world in interior monolog
- The jewel center of interest is the eye within the eye
- Write in recollection and amazement for yourself
- Work from pithy middle eye out, swimming in language sea
- Accept loss forever
- Believe in the holy contour of life
- Struggle to sketch the flow that already exists intact in mind
- Dont think of words when you stop but to see picture better
- Keep track of every day the date emblazoned in yr morning
- No fear or shame in the dignity of yr experience, language & knowledge
- Write for the world to read and see yr exact pictures of it
- Bookmovie is the movie in words, the visual American form
- In praise of Character in the Bleak inhuman Loneliness
- Composing wild, undisciplined, pure, coming in from under, crazier the better
- You’re a Genius all the time
- Writer-Director of Earthly movies Sponsored & Angeled in Heaven
The better you write, the higher you go in Ogilvy & Mather. People who think well, write well.
Woolly minded people write woolly memos, woolly letters and woolly speeches.
Good writing is not a natural gift. You have to learn to write well. Here are 10 hints:
1. Read the Roman-Raphaelson book on writing. Read it three times.
2. Write the way you talk. Naturally.
3. Use short words, short sentences and short paragraphs.
4. Never use jargon words like reconceptualize, demassification,attitudinally, judgmentally. They are hallmarks of a pretentious ass.
5. Never write more than two pages on any subject.
6. Check your quotations.
7. Never send a letter or a memo on the day you write it. Read it aloud the next morning — and then edit it.
8. If it is something important, get a colleague to improve it.
9. Before you send your letter or your memo, make sure it is crystal clear what you want the recipient to do.
10. If you want ACTION, don’t write. Go and tell the guy what you want.
- Work on one thing at a time until finished.
- Start no more new books, add no more new material to ‘Black Spring.’
- Don’t be nervous. Work calmly, joyously, recklessly on whatever is in hand.
- Work according to Program and not according to mood. Stop at the appointed time!
- When you can’tcreateyou canwork.
- Cement a little every day, rather than add new fertilizers.
- Keep human! See people, go places, drink if you feel like it.
- Don’t be a draught-horse! Work with pleasure only.
- Discard the Program when you feel like it—but go back to it next day.Concentrate. Narrow down. Exclude.
- Forget the books you want to write. Think only of the book youarewriting.
- Write first and always. Painting, music, friends, cinema, all these come afterwards.
If groggy, type notes and allocate, as stimulus.
If in fine fettle, write.
Work of section in hand, following plan of section scrupulously. No intrusions, no diversions. Write to finish one section at a time, for good and all.
See friends. Read in cafés.
Explore unfamiliar sections — on foot if wet, on bicycle if dry.
Write, if in mood, but only on Minor program.
Paint if empty or tired.
Make Notes. Make Charts, Plans. Make corrections of MS.
Note: Allow sufficient time during daylight to make an occasional visit to museums or an occasional sketch or an occasional bike ride. Sketch in cafés and trains and streets. Cut the movies! Library for references once a week.
#1: You admire a character for trying more than for their successes.
#2: You gotta keep in mind what’s interesting to you as an audience, not what’s fun to do as a writer. They can be v. different.
#3: Trying for theme is important, but you won’t see what the story is actually about til you’re at the end of it. Now rewrite.
#4: Once upon a time there was ___. Every day, ___. One day ___. Because of that, ___. Because of that, ___. Until finally ___.
#5: Simplify. Focus. Combine characters. Hop over detours. You’ll feel like you’re losing valuable stuff but it sets you free.
#6: What is your character good at, comfortable with? Throw the polar opposite at them. Challenge them. How do they deal?
#7: Come up with your ending before you figure out your middle. Seriously. Endings are hard, get yours working up front.
#8: Finish your story, let go even if it’s not perfect. In an ideal world you have both, but move on. Do better next time.
#9: When you’re stuck, make a list of what WOULDN’T happen next. Lots of times the material to get you unstuck will show up.
#10: Pull apart the stories you like. What you like in them is a part of you; you’ve got to recognize it before you can use it.
#11: Putting it on paper lets you start fixing it. If it stays in your head, a perfect idea, you’ll never share it with anyone.
#12: Discount the 1st thing that comes to mind. And the 2nd, 3rd, 4th, 5th – get the obvious out of the way. Surprise yourself.
#13: Give your characters opinions. Passive/malleable might seem likable to you as you write, but it’s poison to the audience.
#14: Why must you tell THIS story? What’s the belief burning within you that your story feeds off of? That’s the heart of it.
#15: If you were your character, in this situation, how would you feel? Honesty lends credibility to unbelievable situations.
#16: What are the stakes? Give us reason to root for the character. What happens if they don’t succeed? Stack the odds against.
#17: No work is ever wasted. If it’s not working, let go and move on - it’ll come back around to be useful later.
#18: You have to know yourself: the difference between doing your best & fussing. Story is testing, not refining.
#19: Coincidences to get characters into trouble are great; coincidences to get them out of it are cheating.
#20: Exercise: take the building blocks of a movie you dislike. How d’you rearrange them into what you DO like?
#21: You gotta identify with your situation/characters, can’t just write ‘cool’. What would make YOU act that way?
#22: What’s the essence of your story? Most economical telling of it? If you know that, you can build out from there.
1) Overcoming the monster — classic hero vs. villain approach (Star Wars)
2) Rebirth — renewal (It’s a Wonderful Life)
3) The Quest — overcoming obstacles to achieve objectives (Lord of the Rings)
4) Journey and Return — go somewhere and come back with changes (Wizard of Oz)
5) Rags to Riches — from the depths to a rise (Cinderella)
6) Tragedy — outcome that is not so positive (many Shakespeare stories)
7) Comedy — laughter (Zoolander)