If it sounds like writing, I rewrite it. Or, if proper usage gets in the way, it may have to go. I can't allow what we learned in English composition to disrupt the sound and rhythm of the narrative.
My most important piece of advice to all you would-be writers: when you write, try to leave out all the parts readers skip.
If it sounds like writing, I rewrite it.
Using adverbs is a mortal sin.
All the information you need can be given in dialogue.
Never use a verb other than "said" to carry dialogue... I once noticed Mary McCarthy ending a line of dialogue with "she asseverated" and had to stop reading and go to the dictionary.
I'm not going to write for posterity. I'm going to write to make a buck.
Keep your exclamation points under control. You are allowed no more than two or three per 100,000 words of prose.
I'm very much aware in the writing of dialogue, or even in the narrative too, of a rhythm. There has to be a rhythm with it … Interviewers have said, you like jazz, don’t you? Because we can hear it in your writing. And I thought that was a compliment.
My most important rule is one that sums up the 10: If it sounds like writing, I rewrite it.
The line of dialogue belongs to the character; the verb is the writer sticking his nose in.
I try to leave out the parts readers skip.
I started out of course with Hemingway when I learned how to write. Until I realized Hemingway doesn't have a sense of humor. He never has anything funny in his stories.
There are some people who have been reading me for years, and they keep saying kind things about the writing. That's what you're writing for, to get people to respond to it.
Never use an adverb to modify the verb 'said' . . . he admonished gravely. To use an adverb this way (or almost any way) is a mortal sin. The writer is now exposing himself in earnest, using a word that distracts and can interrupt the rhythm of the exchange.
A pen connects you to the paper. It definitely matters.
I don't judge in my books. I don't have to have the antagonist get shot or the protagonist win. It's just how it comes out. I'm just telling a story.
At the time I begin writing a novel, the last thing I want to do is follow a plot outline. To know too much at the start takes the pleasure out of discovering what the book is about.
I don't want the reader to be aware of me as the writer.
I've quit writing screenplay [adaptations]. It's too much work. I don't look at writing a novel as work, because I only have to please myself. I have a good time sitting here by myself, thinking up situations and characters, getting them to talk - it's so satisfying. But screenwriting's different. You might think you're writing for yourself, but there are too many other people to please.
It's my attempt to remain invisible, not distract the reader from the story with obvious writing.
Everyone has his own sound. I'm not going to presume how to tell anybody how to write.
To me, writing is the most fun. It's not always fun, but finally when you make it come out the way you want, it's then you can say, 'It's fun, boy.'
Try not to write the parts that people skip.
I do have fun writing, and a long time ago, I told myself, 'You got to have fun at this, or it'll drive you nuts.'
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