About writing

Don’t expect the puppets of your mind to become the people of your story. If they are not realities in your own mind, there is no mysterious alchemy in ink and paper that will turn wooden figures into flesh and blood.”—Leslie Gordon Barnard, May 1923

“If you tell the reader that Bull Beezley is a brutal-faced, loose-lipped bully, with snake’s blood in his veins, the reader’s reaction may be, ‘Oh, yeah!’ But if you show the reader Bull Beezley raking the bloodied flanks of his weary, sweat-encrusted pony, and flogging the tottering, red-eyed animal with a quirt, or have him booting in the protruding ribs of a starved mongrel and, boy, the reader believes!”—Fred East, June 1944

“We writers are apt to forget that, as the gun smoke fogs and the hero rides wildly to the rescue, although the background of this furious action is fixed indelibly in our own minds, it is not fixed in the mind of the reader. He won’t see or feel it unless you make him—bearing always in mind that you can’t stop the gunfight or the racing horse to do the job.” —Gunnison Steele, March 1944

“Plot, or evolution, is life responding to environment; and not only is this response always in terms of conflict, but the really great struggle, the epic struggle of creation, is the inner fight of the individual whereby the soul builds up character.”—William Wallace Cook, July 1923

“Plot is people. Human emotions and desires founded on the realities of life, working at cross purposes, getting hotter and fiercer as they strike against each other until finally there’s an explosion—that’s Plot.”
—Leigh Brackett, July 1943

“You can’t write a novel all at once, any more than you can swallow a whale in one gulp. You do have to break it up into smaller chunks. But those smaller chunks aren’t good old familiar short stories. Novels aren’t built out of short stories. They are built out of scenes.”—Orson Scott Card, September 1980

“Don’t leave your hero alone very long. Have at least two characters on stage whenever possible and let the conflict spark between them. There can be conflict with nature and your hero can struggle against storm or flood, but use discretion. … You could write a gripping story about a struggle between a lone trapper and a huge, clever wolf. But the wolf is practically humanized in such a story and fills every role of villain. The wolf too wants something and does something about it. A storm doesn’t want anything and that’s why its conflict with man is generally unsatisfactory. It doesn’t produce the rivalry which is the basis of good conflict.”—Samuel Mines, March 1944

“The first sentence can’t be written until the final sentence is written.” —Joyce Carol Oates, April 1986

“The writing of a mystery story is more of a sport than a fine art. It is a game between the writer and the reader. If, once in a while, a really fine book comes out of this contest, that is good; but the game’s the thing. If, on Page 4, the reader knows that the soda cracker is spread with butter mixed with arsenic, and later on this is proven to be true, then the reader has won the game. If, however, when the reader finishes the book, he says, ‘I didn’t get it—all the clues were there, plain as who killed Cock-Robin, but I didn’t get it,’ then the author has won the game. The author has to play fair, though. He has to arrange his clues in an orderly manner, so that the reader can see them if he looks hard enough.”—Polly Simpson Macmanus, January 1962

“Authors of so-called ‘literary’ fiction insist that action, like plot, is vulgar and unworthy of a true artist. Don’t pay any attention to misguided advice of that sort. If you do, you will very likely starve trying to live on your writing income. Besides, the only writers who survive the ages are those who understand the need for action in a novel.”
—Dean R. Koontz, August 1981