Whit Stillman Quotes

For me, the hardest thing in the world is how to start a book.

I think I wrote 'The Trysting Place' in about three weeks. But it was inexperience that made me have to do that. I didn't feel good about the book all the time I was writing it. It felt a bit like wading through molasses.

You might not write well every day, but you can always edit a bad page. You can't edit a blank page.

Basically I started to jot notes, lots of faxes back and forth to my writer, we faxed ideas throughout the whole first draft, and started all over again.

Writing is probably one-fifth coming up with the stuff, and four-fifths self-editing again and again and again.

I haven't had trouble with writer's block. I think it's because my process involves writing very badly. My first drafts are filled with lurching, cliched writing, outright flailing around. Writing that doesn't have a good voice or any voice. But then there will be good moments.

You are just in the middle of a struggle with words which are really very stubborn things, with a blank page, with the damn thing that you use to write with, a pen or a typewriter, and you forget all about the reader when you are doing that.

Writing film scripts is the hardest thing in the world. A script has to go to five or six drafts, and you need the feedback of other people and to keep coming back with a fresh eye, honing it down.

I actually started an adult book, worked on it for about two years, and then decided it just wasn't coming together for me, and thought I'll go back to children's books, and almost immediately I started 'Holes,' and it just seemed to take off on me.

I find getting the first draft down to be the biggest challenge. Every word, every punctuation mark, every plot point is a decision. It's much more fun to play with something that already exists.

In a first draft, I concentrate on moving forward and trying not to panic.

I dread first drafts! I worry each day that it won't come, that nothing will happen.

I write everything out in longhand in one fast go. And then I throw out the first few and start over again. By the end of the first draft, the whole thing's messy and disgusting and horrible, but you really understand the foundational stuff.

My writing process often begins with a question. I write down ideas and let them stew for about a year. Then, when I sit down to write, I make a list of characters and try to see how they fit.

Creating the characters is the most creative part of the novel except for the language itself. There I am, sitting in front of my computer in right-brain mode, typing the things that come to mind - which become the seeds of plot. It's scary, though, because I always wonder: Is it going to be there this time?

And then the really awful thing is that at the end of the day after crying and experiencing things, then you look at what you've written and you're like, 'Hmm, there's half a page that's good here.' Then you throw out everything else.

One of the agonies of being an author is to know when to stop writing.

Re-writing is different from writing. Original writing is very difficult.

Some stories or passages are more difficult and demand more fussing with than others, but, in general, I'm a two-draft writer rather than a six-draft writer, or whatever.

My process is messy and non-linear, full of false starts, fidgets, and errands that I suddenly need to run now; it is a battle to get something - anything - down on paper. I doodle in sketchbooks: bits of ideas, fragments of sentences, character names, single lines of dialogue with no context.

Writing a novel is a huge adventure; when it's going well it's more fun than fun. When it stutters to a halt put it aside. Go for a swim, go for a walk, take a week off. Don't panic or be afraid; you and your characters are in it together. Trust them to come to your rescue.

Many first-time novelists end up rewriting their first two or three chapters, trying to get them 'just right.' But the point of the first draft is not to get it right; it's to get it written - so that you'll have something to work with.

If I'm working on a poem, it's at the forefront of my mind; I'm working on it when I'm cooking dinner or stretched out on the sofa. But if I don't really have it by the 10th draft, I know it just isn't going to jell.

I always write on unlined typing paper and write the first draft in longhand, using cheap Bic pens. I try to write about four pages a day, which usually yields a first draft in six months. I don't plot ahead of time, so I'm flying by the seat of my pants for the first draft.

I'm not a fast writer, and I find the process of writing a first draft to be painful and frustrating. Usually, I start with a character, a premise, and some image that gives me a particular feeling.