“In the most basic way, writers are defined not by the stories they tell, or their politics, or their gender, or their race, but by the words they use. Writing begins with language, and it is in that initial choosing, as one sifts through the wayward lushness of our wonderful mongrel English, that choice of vocabulary and grammar and tone, the selection on the palette, that determines who’s sitting at that desk. Language creates the writer’s attitude toward the particular story he’s decided to tell.” — Donald E. Westlake
Spend some time living before you start writing. What I find to be very bad advice is the snappy little sentence, “Write what you know.” It is the most tiresome and stupid advice that could possibly be given. If we write simply about what we know we never grow. We don’t develop any facility for languages, or an interest in others, or a desire to travel and explore and face experience head-on. We just coil tighter and tighter into our boring little selves. What one should write about is what interests one.
- There are only two races on this planet – the intelligent and the stupid.
- There comes a time in each life like a point of fulcrum. At that time you must accept yourself. It is not any more what you will become. It is what you are and always will be.
- The most important questions in life can never be answered by anyone except oneself.
- We all write poems; it is simply that poets are the ones who write in words.
- You may think novelists always have fixed plans to which they work, so that the future predicted by Chapter One is always inexorably the actuality of Chapter Thirteen. But novelists write for countless different reasons: for money, for fame, for reviewers, for parents, for friends, for loved ones; for vanity, for pride, for curiosity, for amusement: as skilled furniture makers enjoy making furniture, as drunkards like drinking, as judges like judging, as Sicilians like emptying a shotgun into an enemy’s back. I could fill a book with reasons, and they would all be true, though not true of all. Only one same reason is shared by all of us: we wish to create worlds as real as, but other than the world that is. Or was. This is why we cannot plan. We know a world is an organism, not a machine.
- There are many reasons why novelists write, but they all have one thing in common – a need to create an alternative world.
- That was the tragedy. Not that one man had the courage to be evil. But that millions had not the courage to be good.
- Wealth is a monster. It takes a month to learn to control it financially. And many years to learn to control it psychologically.
- I think all the arts draw on a nostalgia or longing for a better world—at root a better metaphysical condition—than the one that is. Self-destructive, I don’t know, but certainly we are all victims of some form of manic depression. That is the price of being what we are. I would never choose—even if I could!—to be a more “normal” human being; I would never choose something without that emotional cost, severe though it can become.
- Writing novels is a time-consuming, psyche-consuming business. I mean I don’t think a good teacher actually would be likely to write good novels.
- What interests me about novelists as a species is the obsessiveness of the activity, the fact that novelists have to go on writing. I think that probably must come from a sense of the irrecoverable. In every novelist’s life there is some more acute sense of loss than with other people, and I suppose I must have felt that. I didn’t realize it, I suppose, till the last ten or fifteen years. In fact you have to write novels to begin to understand this. There’s a kind of backwardness in the novel…an attempt to get back to a lost world.
- If a novelist isn’t in exile I suspect he’d be in trouble.
The author makes a tacit deal with the reader. You hand them a backpack. You ask them to place certain things in it—to remember, to keep in mind — as they make their way up the hill. If you hand them a yellow Volkswagen and they have to haul this to the top of the mountain—to the end of the story—and they find that this Volkswagen has nothing whatsoever to do with your story, you’re going to have a very irritated reader on your hands.