Write, pray, love…among other things. Sage advice from Kurt Vonnegut, Neil Gaiman, Elmore Leonard, Jonathan Franzen, Margaret Atwood, and Pixar.
Kurt Vonnegut: 8 Basics of Creative Writing
1. Use the time of a total stranger in such a way that he or she will not feel the time was wasted.
2. Give the reader at least one character he or she can root for.
3. Every character should want something, even if it is only a glass of water.
4. Every sentence must do one of two things—reveal character or advance the action.
5. Start as close to the end as possible.
6. 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.
7. 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.
8. Give your readers as much information as possible as soon as possible. To heck 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.
The greatest American short story writer of my generation was Flannery O’Connor (1925-1964). She broke practically every one of my rules but the first. Great writers tend to do that.
Neil Gaiman’s 8 Good Writing Practices
2. Put one word after another. Find the right word, put it down.
3. Finish what you’re writing. Whatever you have to do to finish it, finish it.
4. Put it aside. Read it pretending you’ve never read it before. Show it to friends whose opinion you respect and who
like the kind of thing that this is.
5. Remember: when people tell you something’s wrong or doesn’t work for them, they are almost always right. When they tell you exactly what they think is wrong and how to fix it, they are almost always wrong.
6. Fix it. Remember that, sooner or later, before it ever reaches perfection, you will have to let it go and move on and start to write the next thing. Perfection is like chasing the horizon. Keep moving.
7. Laugh at your own jokes.
8. The main rule of writing is that if you do it with enough assurance and confidence, you’re allowed to do whatever you like. (That may be a rule for life as well as for writing. But it’s definitely true for writing.) So write your story as it needs to be written. Write it honestly, and tell it as best you can. I’m not sure that there are any other rules. Not ones that matter.
(via The Guardian)
Elmore Leonard’s 10 Rules
1. Never open a book with weather.
2. Avoid prologues.
3. Never use a verb other than “said” to carry dialogue.
4. Never use an adverb to modify the verb “said”…he admonished gravely.
5. Keep your exclamation points under control. You are allowed no more than two or three per 100,000 words of prose.
6. Never use the words “suddenly” or “all hell broke loose.”
7. Use regional dialect, patois, sparingly.
8. Avoid detailed descriptions of characters.
9. Don’t go into great detail describing places and things.
10. Try to leave out the part that readers tend to skip.
My most important rule is one that sums up the 10. If it sounds like writing, I rewrite it.
Jonathan Franzen: 10 Rules of Writing
1. The reader is a friend, not an adversary, not a spectator.
2. Fiction that isn’t an author’s personal adventure into the frightening or the unknown isn’t worth writing for anything but money.
3. Never use the word “then” as a conjunction – we have “and” for this purpose. Substituting “then” is the lazy or tone-deaf writer’s non-solution to the problem of too many “ands” on the page.
4. Write in the third person unless a really distinctive first-person voice offers itself irresistibly.
5. When information becomes free and universally accessible, voluminous research for a novel is devalued along with it.
6. The most purely autobiographical fiction requires pure invention. Nobody ever wrote a more autobiographical story than “The Metamorphosis”.
7. You see more sitting still than chasing after.
8. It’s doubtful that anyone with an internet connection at his workplace is writing good fiction [the TIME magazine cover story detailed how Franzen physically disables the Net portal on his writing laptop].
9. Interesting verbs are seldom very interesting.
10. You have to love before you can be relentless.
(via The Guardian)
Margaret Atwood: 10 Rules of Writing
1. Take a pencil to write with on aeroplanes. Pens leak. 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 on. Paper is good. In a pinch, pieces of wood or your arm will do.
4. If you’re using a computer, always safeguard new text with a memory stick.
5. Do back exercises. Pain is distracting.
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 B.
7. You most likely need a thesaurus, a rudimentary grammar book, and a grip on reality. This latter means: there’s no free lunch. Writing is work. It’s also gambling. You don’t get a pension plan. Other people can help you a bit, but essentially you’re on your own. Nobody is making you 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 been backstage. 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 up.
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 tense. Change the opening page.
10. Prayer might work. Or reading something else. Or a constant visualisation of the holy grail that is the finished, published version of your resplendent book.
(via The Guardian)
Pixar’s 22 Rules of Storytelling
Former Pixar storyboard artist Emma Coats tweeted these nuggets of narrative wisdom.
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.
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.
(Via Laughing Squid)