9 Don't worry about posterity as Larkin (no sentimentalist) observed "What will survive of us is love". Geoff dyer 1 never worry about the commercial possibilities of a project. That stuff is for agents and editors to fret over or not. Conversation with my American publisher. Me: "I'm writing a book so boring, of such limited commercial appeal, that if you publish it, it will probably cost you your job." Publisher: "That's exactly what makes me want to stay in my job." 2 Don't write in public places. In the early 1990s I went to live in Paris.
home the new York review of books
2 Listen to what you have written. A dud rhythm in a passage of dialogue may show that you don't yet understand the characters well enough to write in their voices. 3 read keats's letters. 4 Reread, rewrite, reread, rewrite. If it still doesn't work, throw it away. It's a nice feeling, and you don't want to be cluttered with the corpses of poems and stories which have everything in them except the life they need. 5 learn poems by heart. 6 join professional organisations which advance the collective rights of authors. 7 A problem with a piece of writing often clarifies itself if you go for a long walk. 8 If you fear that taking care of your children and household will wallpaper damage your writing, think of jg ballard.
7 do, about occasionally, give in to temptation. Wash the kitchen floor, hang out the washing. 8 do change your mind. Good ideas are often murdered by better ones. I was working on a novel about a band called the partitions. Then I decided to call them the commitments. 9 do not search for the book you haven't written yet. 10 do spend a few minutes a day working on the cover biog "He divides his time between Kabul and tierra del fuego." But then get back to work. Helen Dunmore 1 Finish the day's writing when you still want to continue.
Own it, and see. Dickens knew Bleak house was going to be called Bleak house before he started writing. The rest must have been easy. 5 do restrict your browsing to a few websites a day. Don't go near the online bookies unless it's research. 6 do keep a thesaurus, but in the shed at the back of the garden or behind the fridge, somewhere that demands travel or effort. Chances are the words that come into your head will do fine, eg "horse "ran "said".word
Or a constant visualisation of the holy grail that is the finished, published version of your resplendent book. Roddy doyle 1 do not place a photograph of your favourite author on your desk, especially if the author is one of the famous ones who committed suicide. 2 do be kind to yourself. Fill pages as quickly as possible; double space, or write on every second line. Regard every new page as a small triumph 3 Until you get to page. Then calm down, and start worrying about the quality. Do feel anxiety it's the job. 4 do give the work a name as quickly as possible.
Write my paper best Professional College Essay writing
Nobody is making you towns do this: you chose it, so don't whine. 8 you can never read your own book with the innocent anticipation that comes with that first delicious page of a new book, because you wrote the thing. You've seen how the rabbits were smuggled into the hat. Therefore ask a reading friend or two to look at it before you give it to anyone in the publishing business. This friend should not be someone with whom you have a romantic relationship, unless you want to break.
9 Don't sit down in the middle of the woods. If you're lost in the plot or blocked, retrace your steps to where you went wrong. Then take the other road. And/or change the person. Change the opening page. 10 Prayer might work. Or reading something else.
Margaret Atwood 1, take a pencil to write with on aeroplanes. But if the pencil breaks, you can't sharpen it on the plane, because you can't take knives with you. Therefore: take two pencils. 2, if both pencils break, you can do a rough sharpening job with a nail file of the metal or glass type. 3, take something to write. In a pinch, pieces of wood or your arm will.
4, if you're using a computer, always safeguard new text with a memory stick. 5 do back exercises. 6 Hold the reader's attention. (This is likely to work better if you can hold your own.) But you don't know who the reader is, so it's like shooting fish with a slingshot in the dark. What fascinates A will bore the pants off. 7 you most likely need a thesaurus, a rudimentary grammar book, and a grip on reality. This latter means: there's no free lunch. You don't get a pension plan. Other people can help you a bit, but essentially you're on your own.
Dead Aid: Why aid Is Not Working and How There Is a better
Think of what you skip reading a novel: thick paragraphs of prose you can see have too many words in them. My most important rule is one that sums up the 10: long if it sounds like writing, i rewrite. Elmore leonard's 10 Rules of Writing is published next month by weidenfeld nicolson. Diana Athill 1, read it aloud to yourself because that's the only way to be sure the rhythms of the sentences are ok (prose rhythms are too complex and subtle to be thought shredder out they can be got right only by ear). 2, cut (perhaps that should be cut only by having no inessential words can every essential word be made to count. 3, you don't always have to go so far as to murder your darlings those turns of phrase or images of which you felt extra proud when they appeared on the page but go back and look at them with a very beady eye. Almost always it turns out that they'd be better dead. (Not every little twinge of satisfaction is suspect it's the ones which amount to a sort of smug glee you must watch out for.).
Once you start spelling words in dialogue phonetically and loading the page with apostrophes, you won't be able to stop. Notice the way annie proulx captures the flavour of wyoming voices in her book of short stories. 8, avoid detailed descriptions of characters, which Steinbeck covered. In Ernest Hemingway's "Hills like white Elephants what do the "American and the girl with him" look like? "She had taken off her hat and put it on the table." That's the only reference to a resume physical description in the story. 9, don't go into great detail describing places and things, unless you're margaret Atwood and can paint scenes with language. You don't want descriptions that bring the action, the flow of the story, to a standstill. 10, try to leave out the part that readers tend to skip.
one of my books tell how she used to write historical romances "full of rape and adverbs". 5, keep your exclamation points under control. You are allowed no more than two or three per 100,000 words of prose. If you have the knack of playing with exclaimers the way tom Wolfe does, you can throw them in by the handful. 6, never use the words "suddenly" or "all hell broke loose". This rule doesn't require an explanation. I have noticed that writers who use "suddenly" tend to exercise less control in the application of exclamation points. 7, use regional dialect, patois, sparingly.
Sweet Thursday, but it's ok because a character in the book makes the point of what my rules are all about. He says: "I like a lot of talk in a book and I don't like to have nobody tell me what the guy that's talking looks like. I want to figure out what he looks like from the way he talks." 3, never use a verb other than "said" to carry dialogue. The line of dialogue belongs to the character; the verb is the writer sticking his nose. But "said" is far less intrusive than "grumbled "gasped "cautioned "lied". I once noticed Mary shredder McCarthy ending a line of dialogue with "she asseverated" and had to stop reading and go to the dictionary. 4, never use an adverb to modify the verb "said".
Affordable papers: Trustworthy custom Essay writing Service
Elmore leonard: Using adverbs is a mortal sin 1, never open a book with weather. If it's only to create atmosphere, and not a character's reaction to the weather, you don't want to go on too long. The reader is apt to leaf ahead looking for people. If you happen to be barry lopez, who has more ways than an Eskimo to describe ice and snow in his book. Arctic Dreams, you can do all the weather reporting you want. 2, avoid summary prologues: they can be annoying, especially a prologue following an introduction that comes after a foreword. But these are ordinarily found in non-fiction. A prologue in a novel is backstory, and you can drop it in anywhere you want. There is a prologue in John Steinbeck's.