61. In dialogue, everyone should always be lying.
Writing is my favorite part of fall.
The best non-anglo writer on the shelf talks writing and Haiti. Muah!
Sometimes your favorite authors are not nice people.
Applicable to any of your favorite mediums. Old-school print journalists would tell you not to make friends with musicians, but inevitably you are going to meet people whose work you respect and connect to to and hit it off. But it really is fascinating how little people’s creative work prepares you for attempting to have a relationship with them.
I also tried really hard to friend-flirt with Clark Duke on a red carpet at the Playboy Mansion once and that didn’t work out at all. He was a little distracted.
Sarah Bruni, Adelle Waldman, Alissa Nutting and Periel Aschenbrand talk about writing in very few words
The author of horror classics like The Shining and its 2013 sequel Doctor Sleep says the best writers hook their readers with voice, not just action.
A book won’t stand or fall on the very first line of prose — the story has got to be there, and that’s the real work. And yet a really good first line can do so much to establish that crucial sense of voice — it’s the first thing that acquaints you, that makes you eager, that starts to enlist you for the long haul. So there’s incredible power in it, when you say, come in here. You want to know about this. And someone begins to listen.
When you get stuck, go back and read your earlier scenes, looking for dropped characters or details that you can resurrect as “buried guns.” At the end of writing Fight Club, I had no idea what to do with the office building. But re-reading the first scene, I found the throw-away comment about mixing nitro with paraffin and how it was an iffy method for making plastic explosives. That silly aside (… paraffin has never worked for me…) made the perfect “buried gun” to resurrect at the end and save my storytelling ass.