Category Archives: Advice

Useful Writing Prescriptions from Two Major Authors

John Gardner was the winner of The National Book Critics Circle Award, and author of four innovative and yet best-selling novels. He and Ernest Hemingway, the most important innovator in 20th century literature, once named “the greatest writer since Shakespeare,” and 1954 Nobel laureate, were both interested in passing on to other writers insights and prescriptions  on a variety of topics pertinent to serious writing.

A helpful way to incorporate the prescriptions and insights here is described at the end of the post.

  1. Spend as much time as possible writing. It will pay off.

Photograph of John GardnerGardner: “If the promising writer keeps on writing–writes day after day, month after month–and if he reads very carefully, he will begin to ‘catch on.’”  Hemingway, convinced of the value of persistence, wrote, “Anyone who says he wants to be a writer and isn’t writing, doesn’t.  Professionals write regularly. Amateurs often write sporadically.”

Hemingway: “Work continuously on a project once you start it. The hard part about a novel is to finish it…There is only one thing to do with a novel and that is to go straight on through to the end of the damn thing.” Hemingway: “Write every day until you’re so pooped about all the exercise you can face is reading the papers.”

  1. If your work is rejected often, get help, particularly emotional help.

Writers often do their best work when they are intense and feeling good, but intensity can be worn down by rejections. Gardner: It is a terrible thing to write for five or ten years and continue to be rejected–and so at last goes another good writer.”  “Only a strong character, reinforced by the encouragement of a few people who believe in the writer, can get one through this period.” Gardner also said, “It cannot be too strongly emphasized that, after the beginning stages, a writer needs social and psychological support.” He felt that writers need to be part of a community that values the things they value.

Hemingway endured many rejections. That is understandable since his work was original. Nothing like it had been seen before by editors, and editors generally avoid writers who are not “proven.” Hemingway said that every day “the rejected manuscripts would come through the slot in the door…I’d sit at that old wooden table and read one of those cold slips that had been attached to a story I had loved and worked on very hard and believed in, and I couldn’t help crying.” But he never lost confidence in his talent. His reward was fame, wealth, and the highest literary award, the Nobel Prize.

Gardner: When writers are ready to give up, they need four things from an editor or mentor: trustworthiness, reassurance that their work really is publishable quality, a clear understanding of how editors work, and the strongest possible support.

  1. Expect to run into a powerful force–the urge of other people to evaluate your writing, tell you how good or bad it is, and to change it.

Gardner: “No depressed and angry writer can fail to notice, if he raises his heavy head and looks around, that fools, maniacs, and jabbers are everywhere–mindless, tasteless, ignorant schools of critics…misreading a great writer.”

Hemingway said writers may slant a story away from the way they want the story to please a magazine editor so the editor might accept the work for publication. Hemingway’s advice was never do that: “That’s just a lot of shit; I never slanted a story in my life. I never think of publication until I’ve finished a story. Write a story exactly the way you think it should be written, not as an editor would want it.”

  1. Be knowledgeable of the powers and uses of language, and have skill in using words. That is a requirement if your goal is to write potent prose or poetry.

Photograph of Earnest HemingwayHemingway: “The hardest thing in the world is to write straight honest prose on human beings. First you have to know the subject; then you have to know how to write. Both take a lifetime to learn.”  The vocabulary in a Hemingway work is simple, the sentences clear and uncomplicated. And short. The style is non-literary, and is colloquial American English. His rule was that his language must be readable, accurate, and economical.

Gardner: A writer “is interested in discovering the secrets words carry, whether or not he ever puts them in his fiction…One sign of a writer’s potential is his especially sharp ear–and eye–for language.”  But writers must be cautious because if they care too much about the words they use and call attention away from the story and toward their style, they become “mannered.” Eventually readers tire of them.

  1. Aim for the polished, tasteful, “middle way” that most readers prefer. Some writers write poorly and are not read, and some write too well, too beautifully, and are not read.

Hemingway revolutionized fiction writing by purging it of displays of virtuosity, simplifying it, and avoiding “poetic” prose writing styles, preferring simple Anglo-Saxon English that was used in daily life by “the common man.”

Gardner said, “Though there are exceptions, as a rule the good novelist does not worry primarily about linguistic brilliance…but instead worries about telling his story in a moving way…If the writer has too much verbal sensitivity, his success…will depend on his learning to care about other elements of fiction so that, for their sake, he holds back a little…or on his finding an editor, and a body of readers who love, beyond all else, the same things he loves, fine language….The writer who cares chiefly, or exclusively about language  is poorly equipped for novel-writing in the usual sense because his character and personality are wrong for writing novels.”

  1. Be disciplined. Discipline is the serious writer’s necessary quality. If you’re not disciplined your writing career will probably fizzle. 

The most successful writers from the Romans to those writing today were disciplined. It’s possible that discipline is more important to writers than talent.

Gardner:  ”If one is unwilling to write like a true artist, mainly because one needs to, one might do well to put one’s energies somewhere else.”

Hemingway: “I happen to be in a very tough business where there are no alibis. It is good or it is bad and the thousand reasons that interfere with a book being as good as possible are no excuses if it is not. You have to make it good and a man is a fool if he adds or takes hindrance after hindrance after hindrance to being a writer when that is what he cares about. Taking refuge in domestic successes, being good to your broke friends, is merely a form of quitting.”

  1. Aim to be as prolific as you can if your goal is to be considered great. There are prolific writers and writers who produce very little. You’re more likely to be thought great if you are prolific. Hemingway and Gardner were both great and prolific. Gardner talked about reasons why some writers are not prolific.

There is a definite relationship between being a major artist and producing a number of works. There are writers who produce one exquisite work. Their writing is exceptional, but there is so little of it that almost never are they considered major writers. The greatest writers generally get an early start, producing their first major success sooner than less great writers produce theirs, and have long and fruitful careers into their 60s, 70s and 80s.

Gardner said that not caring much about the kind of novel most experienced and well-educated readers like to read, the “linguistic novelist,” lover of language for its own sake, brings out in his lifetime only one or two books, or none. ”The brilliant artificer’s novel either is never written at all or is spoiled by sentimentality, mannerism, or frigidity.”

  1. Read the best writers. They will rub off on you. 

Both Gardner and Hemingway advocated writers studying other writers, particularly the best of them so that the writer would take from them what they needed to improve. They both believed that would happen as the writer who was willing to learn developed “a new way of seeing.”

Both men were conversant with the classics. In his teaching, Gardner required students to read them. Hemingway was an insatiable student of literature and painting. He read voraciously and believed that all American fiction was derivative of Mark Twain’s Huckleberry Finn. He felt that studying the style of post-Impressionist painter Paul Cezanne helped his writing considerably. 

  1. Be an autodidact and educate yourself to write skillfully (as many writers have), or be educated via some other means, but be educated. 

Hemingway did not attend college although his parents, both well-educated–his father a physician–wanted him to. But he felt that he would learn nothing in college that would benefit him. Immediately after graduating from high school he began writing for the Kansas City Star. The paper’s brand of journalism was a strong influence on Hemingway his entire career, teaching him; “Use short sentences; use short first paragraphs; use vigorous English; be positive, not negative.”

In Paris in the nineteen twenties Hemingway had an intense four-years writing apprenticeship with luminaries Gertrude Stein, Sherwood Anderson, Ezra Pound, Ford Maddux Ford, and other writers. With that background he began writing The Sun Also Rises with a sense of confidence and a knowledge of his craft.

Gardner had a PhD and taught writing at universities. One of his students was short story innovator Raymond Carver. But asked if a writer should study creative writing and literature at a university, he said, “If the person means will he become a better writer, yes. But if he means, ‘‘Will I be able to support myself,’ the answer is ‘possibly.’ “

It is helpful to become familiar with prescriptions in this post and strive to apply them.  You could write more often and for longer periods, develop stronger skills with language by acquiring a more expressive vocabulary, write in a more appealing style, find emotional help in responding to rejections (a friend, a family member, or a coach or mentor), be more disciplined about writing through a planned schedule of work, read high quality writers, and develop a study program to improve your capabilities.

 

© 2020 David J. Rogers

For my interview from the international teleconference with Ben Dean about Fighting to Win, click the following link:

Interview with David J. Rogers

 

Order Fighting to Win: Samurai Techniques for Your Work and Life eBook by David J. Rogers

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13 Questions to Ask When Your Artistic Career Is in a Rut

What could be more discouraging to a writer, painter, ballet dancer, actor, or composer who is striving to survive and wishes to excel in their craft than to realize that she’s not nearly as successful as she would like and may never be more successful than she has been in the past?  This post looks at the situation of a writer. But the ideas and approaches are just as useful for people in other arts.

Face of woman thhinkingAndrea, a friend—“Andy”–seemed to reach her peak when she had two short stories published in prestigious literary journals at twenty-four and a novel that sold moderately well at twenty-eight. She didn’t think then it would be her peak, but assumed it was a preview of other successes soon to come. But they haven’t come and she’s been wondering what’s wrong with her.

She’s frustrated and anxious because she knows—she can feel—that she has potentials in her that are waiting to be expressed. But there she is, at a standstill at the age of thirty-three  She asks herself privately what she won’t ask in public: “Is this as good as I’ll ever be, experiencing only those three successes?”

But she is not beaten. She hasn’t quit writing as she’s seen so many other once-hopeful writers do. She’ll try to find out what’s wrong and correct the problems she identifies. She’s already on the Car stuck in the snowpath to solving the problem by admitting she’s found herself on a performance plateau—in a performance rut.

She realizes that what she needs now are new ideas, new approaches. Being an intelligent woman, she begins problem-solving by trying to understand the problem. She’s a believer in cause-and-effect and starts with the effect: she’s stuck in the mud. She is not giving up trying to improve and achieve greater success as many writers would in her position. But she is not as successful as she would like to be.

She noodles the problem and takes a frank look at herself. She asks:

  1. Do I have the skills I’ll need to be the writer I want to be? If not, what specific skills should I develop and refine, and how can I acquire them? In each art there is a finite number of basic skills that the person MUST possess if they are to excel.
  2. Do I have sufficient knowledge of my art–making it, sustaining it, and marketing it? Over the long run, superior achievement depends on superior knowledge.
  3. Do I have enough talent, that recognizable flair that underlies a good creatives’ life and their every quality work?
  4. Am I working hard enough? If you study successful people in the arts you will almost always find that they were prodigious workers from the beginning of their careers to the end. Or am I working too hard and burning out (not getting enough sleep and relaxation)?
  5. What are the main goals I’m trying to reach? Are they the right goals and are they difficult as goals are supposed to be, or are they too difficult for me? Goals should be “moderately” difficult–not too easy and not impossibly hard. What exactly are my goals? Andy decides her main goal is not necessarily to “excel” and it is not to be “successful,” but to write as well as she’s able. She feels that if she does that, success will follow. A basic question she asks is: am I pursuing goals at all or am I feeling nervous and drifting?
  6. Am I powerfully motivated to succeed as an artist? Or have I lost my zest? If so, how can I get it back?
  7. Am I able to focus my attention on my work like a narrow beam of bright light or do I have too many irons in the fire? What can I eliminate?
  8. Am I one of the 15% action-oriented, decisive creatives who make up their mind, take the initiative, and make things happen, or one of the other 85% who delay, postpone, and wait for things to happen?
  9. How confident an artist am I, ranging from “not very confident” to ‘”exceptionally confident?” These are the indicators of success in the arts: a desire to succeed, skill, resilience, and confidence. Artists fail more because they lack confidence than because they lack skill.
  10. Am I getting specific, helpful, and honest feedback regularly? Have I made arrangements to do that?
  11. When I meet setbacks and disappointments, am I discouraged, or do I persevere? Do I sink my teeth into my objectives and never let go?
  12. Do I know how to overcome creative obstacles–am I good at analyzing problem and impediments in my way and finding solutions?
  13. Everyone needs encouragement, particularly when their career is dead in the water. Andy asks, whom will I turn to when I need encouragement?

Answering those questions helps Andy dig out of creative ruts she finds herself in from time to time. First thing, she sits down and compares her successful works with her current work and Pink shovel in grey dirtdecides they are different. The earlier work was simpler and more heart-felt and sincere. She  realizes that she has fallen into a trap of “showing off”–of trying to impress readers with what a good writer she is and how brilliant she is rather than in telling a story in a simple, direct, “Here’s my work, take it or leave it”  style.

Andy decides that a big problem usually in recent years has been poor motivation and a lack of confidence because she is so discouraged. She feels that she hasn’t lost her talent and that she is still a good writer and realizes that one or more successes will increase her confidence immensely.  Also, she’s not good at concentrating on work. She wastes a lot of time, including moping. She remembers reading a post I wrote about “programming” to increase productivity. She liked it and plans to re-read it and take steps to become a more efficient writer.

Andy feels that if her concentration improves and she absorbs herself in her work, she will become more excited about it, her motivation will climb, and she will complete more works. Her mother is Andy’s biggest supporter in times of disappointment and discouragement.  Her mother inspires her. Andy plans to talk to her more often.

Woman in aqua sweater writing in a bookShe also plans to read biographies and autobiographies of writers living and dead who will inspire her.

She is aware that one reason she hasn’t had successes recently is that she doesn’t submit enough of her work to magazines and publishers. She has become afraid of failure. Overcoming her fear and submitting more will increase her chances of being published, so she will do that too.

Thinking carefully about the answers to these 13 questions sets Andy on a path out of her rut and on to future successes. Perhaps these questions can be useful to you as well.

 

© 2020 David J. Rogers

For my interview from the international teleconference with Ben Dean about Fighting to Win, click the following link:

Interview with David J. Rogers

 

Order Fighting to Win: Samurai Techniques for Your Work and Life eBook by David J. Rogers

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2 Psycho-Techniques for People in the Arts

Man alone at sunsetFrom childhood on, there have been moments in my life–and I think you have experienced this in your life too—when I’ve had to perform and no one could help me—not my mother, not my wife, not a friend.

The responsibility for what would happen next was completely my own—standing alone on a stage in an auditorium looking into the 12,000 eyes of the 6,000 people who had paid money to hear what I had to say, for instance. Or standing at the starting line of an 800 meter race with seven highly trained athletes that in a couple of minutes I would be trying hard to beat as they would be trying just as hard to beat me.

Runner in blue running suit at starting lineIt’s very lonely knowing that whether or not you will succeed depends solely on your own skills, your own personality and character, your own preparation, and your own strengths. Then no one can help you, no one can write the novel for you, no one can paint the portrait for you today, or dance in your place, or perform your role in tonight’s play. You’re on your own, my friend. Will you be at the height of your talent today or won’t you? Will you have it? Will your work be good? Will you be satisfied?

At crucial moments–beginnings, endings, changes of direction–everything you are, everything you know and hope for, everything that drives you, and all the capabilities you’ve worked so hard to develop and refine to the highest possible level are brought to bear on that always-ultimate artist’s goal–to produce a work of which you will be proud.

I’m a great believer in using psycho-techniques to help performance and wrote a whole book about them that an internet poll named “best motivational book evert written”–Fighting to Win: Samurai Techniques for Your Work and Life.

I’d like to recommend two psycho-techniques here that I find useful: Think Aloud Strategies and Brief Performance Cues. They will be helpful whatever your art, whatever your occupation.

 

Use Think Aloud Strategies to Inspire Yourself

a mouth talking into an earWhen you write, you’re asking yourself, “Does it sound right?” “Does it flow?” “Is it a good quality?” You’re also “self-instructing.” Self-instruction is talking to yourself to guide actions and telling yourself what strategies you should use. A writer may self-instruct to use more imagery in the story, and self-monitor to count the number of images or tell herself, “My mind is starting to wander. I should focus my attention better.”

“Think aloud” strategies involve verbalizing “private speech,” the kind of speech you don’t usually use in public. People don’t generally talk aloud to themselves, and when they do, their speech is often incoherent. But sometimes thinking aloud to yourself clarifies your understanding and activates problem-solving.

A think-aloud strategy often entails reciting out loud the chatter that’s going on in your head. Describing to yourself how to proceed and execute a task should improve performance.  For example, you might say aloud, “There are too many long sentences: mix long and short sentences.” Self-verbalizations such as self-praise statements—“I’m really doing well”–verbalizing the strategies you’re using—“I’m keeping track of time”–and actions you’re taking—“I’m stopping to review the paragraph before moving on”– are extremely  helpful kinds of thinking aloud.

 

Use Brief Performance Cues

Performance cues are important reminders that you repeat silently or say aloud. Focus on a few simple reminders–summaries of the main things you’re trying to accomplish—that you should bear in mind: “I want my writing style to be simpler.” The cue you’ll repeat to yourself, “Simplicity!” Completing a project brings the artist elation. A project cannot be a work of art until it is finished.  Not starting, but finishing works, is the artist’s credo. The cue is “Finish!’ “Finish!”  Above all else, if you are a writer your writing should always be clear. The writer’s cue is “Clarity.”

Thumb up with a smiley face on the thumbBoil your whole performance down to a few statements, words, phrases, or images:

 

“Relaxed and confident”

“Good work today”

“Stay focused”

“Organized and sharp.”

Patience!”

“Persevere!”

“I’m in the groove

“Grit and guts!”

“Take risks.”

Boldness

 

The cues will excite your spirit. They will improve your performance. Begin by writing out performance cues you will use when you’re working.

 

Those psycho-techniques along with the insights you can find in Fighting To Win should help you make the most of your talent.

 

© 2020 David J. Rogers

For my interview from the international teleconference with Ben Dean about Fighting to Win, click the following link:

Interview with David J. Rogers

 

Order Fighting to Win: Samurai Techniques for Your Work and Life eBook by David J. Rogers

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Advice and Other Odds and Ends on the Literary Life

Writers have a great deal to say about the literary life which may be of interest to aspiring writers reading this post and to veteran writers too.

 

Make a Bundle of Money–At Least Try (Why Not?)

Many agents and publishers told a friend of mine that his manuscript was unpublishable. He had faith in himself and didn’t believe them. He persevered. It was published. It sold 25 million copies Stack of hundred dollar billsand he suddenly was rich. On the other hand, when Ernest Hemingway was young and poor in Paris and unable to support his family with his stories he would catch pigeons in the Luxembourg Gardens when the gendarme on duty went into a café during his break, and then take them home and cook them. Some writers, like painters such as Pablo Picasso, love being rich. Picasso said he wanted to work without material worries “like a pauper,” “but with a lot of money.”

Samuel Johnson said that no one but a blockhead ever wrote except for money. Novelist Anthony Trollope said that what motivated him was what motivates lawyers and bakers—“to make an income on which I and those belonging to me might live in comfort. But poet Kenneth Rexroth said, “I’ve had it with these cheap sons of bitches who claim they love poetry but never buy a book.” Jules Renard said: “Writing is the only profession where no one considers you ridiculous if you earn no money.”

Irvin S. Cobb wrote: “If writers were good businessmen they’d have too much sense to be writers.”  “The profession of book writing makes horse racing seem like a solid, stable business” (John Steinbeck).

Blaise Pascal said that anything that is written just to please the author is worthless. William Faulkner (was usually out of money): He said “I began to think of books in terms of possible money. I took a little novel and invented the most horrific tale I could imagine and wrote it in about three weeks”–the financially successful Sanctuary.

Interfering with an author’s desire to be solvent if not rich is the difficulty of getting books published: commenting on the difficulties of getting his play Auntie Mame on the stage, Patrick Dennis said, “It circulated for five years through the halls of fifteen publishes and finally ended with Vanguard Press, which, as you can see, is rather deep into the alphabet.”

A consolation is that your book may be too good to be popular. It’s silly to think that most successful writer is necessarily the best writer: “A best-seller is the gilded tomb of mediocre talent” (Logan Smith.)

 

When At a Party of Artistic People, Talk Like a Genius

Two dogs looking like they are having a conversationWhat do geniuses talk about? Marcel Proust, James Joyce, Igor Stravinsky, and Pablo Picasso attended the same Parisian party in May, 1922. Proust complained about his indigestion and Joyce about his headache. Picasso admired the women and Stravinsky snubbed them all.

 

Make Sure You’re Writing Has “Zing”

An agent told a writer-client that his books weren’t selling because there wasn’t enough sex in them. The writer said, “Are you kidding,” and opened his book and showed him the scene on the first page: the countess races out into the street naked with the hero also naked and in a state of arousal chasing her.

“Yes, yes” said the agent, “but look how far down the page.”

 

Take Criticism of Your Work and Yourself with Grace

Charles Lamb’s first play was hissed off the stage by the audience. Lamb was in the audience and hissed too because he didn’t want to be recognized.

White swan on smooth blue waterOne of the problems superb writers face is that they–and no one else–are the best judge of their work and yet they must endure sometimes ignorant, amateurish editors and critics. Henry Miller found himself being abused by editor after editor he submitted work to. He snarled, “Who are these shits? Where do they get off saying such things to me?”

What is a critic’s function? Screenwriter Wilson Mizener said that a drama critic is a person who surprises the playwright by informing him of what he meant.

The French critic Saint-Beave was challenged to a duel by an angry author and given the choice of weapons. “I choose spelling.” he said, “You’re dead.”

Writers want to be treated courteously, understandingly, and considerately, and why shouldn’t they be? But a literary critic burned Thomas Hardy’s Jude the Obscure and sent him the ashes. Virginia Woolf and James Joyce’s work are often compared, but she didn’t like his writing at all. She said Ulysses was “The work of a queasy underclassman scratching his pimples.”

 

Be Truthful and Accurate

English novelist Arnold Bennett bragged that his description of one of his character’s death couldn’t be topped for its accuracy because he had taken infinite pains over it, basing it on his father’s death. Bennet said that all the time his father was dying “I was at the bedside making copious notes.”

 

Be Prepared for Mishaps and Misjudgments (No one’s perfect)

Ernest Hemingway lost and never recovered a trunk full original manuscripts of his short stories he forgot on a train. John Steinbeck’s dog chewed up half of the first daft of Of Mice and Men. Cat with eyes wide openSherwood Anderson died after swallowing a toothpick with a hors d’ oeuvre at a cocktail party.  Katherine Mansfield married a singing teacher eleven years older than herself and abandoned him the morning after their wedding night. George Bernard Shaw said, “Experience is the name everyone gives to his mistakes.”

 

You Must Focus on Writing Above All Else (Are you a writer or aren’t you?)

“The true artist will let his wife starve, his children go barefoot, his mother drudge for her living at seventy, sooner than work at anything but his art” (Playwright George Bernard Shaw.) “Everything goes by the book, honor, pride, decency–to get the book written.  If a writer has to rob his mother, he will not hesitate; the ‘Ode on a Grecian Urn is worth any number of old ladies” (William Faulkner). At ten in the morning a writer friend of Shelley left him standing by the mantle in his study as he read. When the friend returned at 6:00 p.m. Shelley was standing in the same place reading and hadn’t moved an inch the entire day.

 

You Might Have to Work at Odd Jobs Before Hitting It Big

Novelist /teacher John Gardner said almost all full-time jobs are hard on writing. Henry Miller dug graves for a living. Vachel Lindsay traded poems for bread. Erich Maris Remarque sold tombstones. Novelist William Burroughs was an exterminator. Poet Carl Sandburg was a janitor. William Faulkner was a bootlegger and postmaster of a university post office. Raymond Carver worked in a morgue. George Bernard Shaw said, “You must never suppose, because I am a man of letters, that I never tried to earn an honest living.”

 

Like Athletes, You Must Warm Up Before You Get Started

While writing The Red and the Black, Stendah,l in order to acquire the right tone, read two or three pages of the Civil Code every morning. Willa Cather had to read from the Bible before she was Athlete stretchingready to start writing. Ernest Hemingway had to first sharpen all the pencils he anticipated using that day. Edgar Alan Poe petted his cat before he started. Thomas Wolfe took long walks to get ready.

Like most writers Honore Balzac had to have coffee first. He overdid it, though, drinking fifty cups a day, and eventually dying from coffee poisoning. Samuel Johnson drank twenty-five cups of tea before starting his writing day.

Rudyard Kipling couldn’t get started unless the pen’s ink was very dark. Alexandre Dumas, pere needed rose-colored paper to start if he was writing nonfiction, but for fiction he had to have blue paper and yellow paper for poetry.

 

Writing Is Not Easy so You Might Need Something to Motivate You

The great innovator Gustave Flaubert said it was a delicious thing to write. I’ve never known or heard about or can conceive of or imagine a writer who didn’t feel that way. There’s just something about the act of writing that is motivation enough for most writers. But Victor Hugo needed some other motivation too. So at the beginning of his work day he gave all his clothes to his servant who was ordered to return them only after Hugo had finished a day’s work of several hours.

 

You May or You May Not Need Solitude

Jonathan Swift, author of Gulliver’s Travels, went a year without talking to anyone. Truman Capote’s advice to young writers was to socialize and not “go up to a pine cabin all alone,” because “You reach that stage soon enough.” Voltaire preferred the company of his mistress. He wrote in bed using her back as a desk.

 

Make It a Point To Please Your Publisher and the Book Buyer

Victor Hugo wanted to know if his publisher liked Les Miserables whose manuscript he was submitting. He wrote on its cover “?” His publisher answered “!”. That is the most succonct literary correspondence in history. A publisher’s salesman said, “I often think how shocked authors would be if they listened to the book store clerk selling their books. They’ve worked a year on their book, two years, three years, maybe longer, and there it is. A word or two and a decision is made.”

Your book must match the taste of the person who will buy it. The author of the sensationalist best-seller Peyton Place said, “I’m a lousy writer; a helluva lot of people have lousy taste.”

Popular W. Somerset Maugham said that he had never met an author who admitted that people didn’t buy his book because it was dull.

 

If You Have a Grudge Against a Fellow Writer, Here’s What to Do

“If you are getting the worst of it in an argument with a literary man, always attack his style. That’ll touch him if nothing else will” (J.A. Sender).

 

You May or May Not Have First Book Overwhelming Success, But Be Patient

Maurice Valency thought that failure is very difficult for a writer to bear, “but very few can manage the shock of early success.” P.G. Wodehouse said that success comes to a writer rather gradually, and that it is something of a shock to him or her to realize the heights to which they have risen.

Humorist Robert Benchley said, “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.”

 

Your Main Goal Is Production of Text, so If You Write Very Fast, You Can Produce Lots of Books

In his life Alexandre Dumas, pere wrote 1,500 volumes. British author John Creasey and French author George Simenon each wrote more than 500 books. Earle Stanley Gardner wrote 140 books. He dictated 10,000 words of text a day and once worked on seven books at the same time.

 

As You Can See, Writers Lead Fascinating Lives. But Don’t Believe Them

Playwright Lillian Hellman said writers are “fancy talkers about themselves.” She said that if she had to give advice to young writers she would say, “Don’t listen to writers talk about writing or themselves.”

 

 

© 2020 David J. Rogers

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