Creative Writing Techniques Quotes

Beware of clichés. Not just the ­clichés that Martin Amis is at war with. There are clichés of response as well as expression. There are clichés of observation and of thought - even of conception. Many novels, even quite a few adequately written ones, are ­clichés of form which conform to clichés of expectation.

That's a very good way to learn the craft of writing - from reading.

I began by doing book reviews on the typewriter and then went over to short stories on the machine, meanwhile sticking to pencil for poetry.

Until I became a published writer, I remained completely ignorant of books on how to write and courses on the subject ... they would have spoiled my natural style; made me observe caution; would have hedged me with rules.

I don't know much about creative writing programs. But they're not telling the truth if they don't teach, one, that writing is hard work, and, two, that you have to give up a great deal of life, your personal life, to be a writer.

Well, my background is journalism. I don't have any creative-writing experience except for one class I took as a sophomore in college.

A creative writer must study carefully the works of his rivals, including the Almighty. He must possess the inborn capacity not only of recombining but of re-creating the given world. In order to do this adequately, avoiding duplication of labor, the artist should know the given world.

Grabbing readers by the imagination is a writer's job.

I typically will work on a lyric in a three-ring binder. On the right side, I'll write the lyric, and on the left side, I put in alternate things...and things that might be alternates or improvements. I'll turn the page and do it again. I'll turn the page and do it again, or incorporate the improvements. Eventually, I end up with some material, and often it needs to be ordered.

D.H. Lawrence, I think, defined the difference between writing an article and writing a novel very well. He said, in writing a novel, the writer must be able to identify emotionally and intellectually with two or three or four contradicting perspectives and give each of them very a convincing voice. It's like playing tennis with yourself and you have to be on both sides of the yard. You have to be on both sides, or all sides if there are more than two sides.

I was an English major in college, I went to a creative-writing program, and all my life, I really read and thought about fiction as a craft and an art form. I feel like I know a lot about it, and can trust my instincts.

The move to creating stories was a natural progression for me, but the most pivotal time was probably in 6th grade: That year, a friend introduced me to the stories of Ray Bradbury, and a student teacher introduced me to creative writing.

I went straight from the Marine Corps to the MFA. The way that you would express things among Marines is somewhat different than the way you're supposed to express things in a creative-writing workshop.

When I used to teach creative writing, I would tell the students to make their characters want something right away.

[Six principles that make for a good story:] 1. Absence of lengthy verbiage of a political-social-economic nature; 2. total objectivity; 3. truthful descriptions of persons and objects; 4. extreme brevity; 5. audacity and originality: flee the stereotype; 6. compassion.

What I do usually is read the book first, for pleasure, to see if my brain starts connecting with it, as a movie. And then, if I say yes, I read it again, only this time I take a pen and, inside the book, I say, "Okay, this is a scene. I don't need this. I'm going to try this. I'm not going to take this." And then, I use that book like a bible and each chapter heading, I write a menu of what's in that chapter, in case I ever need to reference it. And then, I start to outline and write it. I get in there and it starts to evolve, based on having re-read it again.

Various random experiments, cut-ups, fold-ins, juxtapositions, timed writings of other kinds, the "objects assignment" which involves dream, adventure, ancestry. Writing outside, writing on moving vehicles. Looking at paintings in the grand museums of the world in a proscribed way.Little strategies to keep the lalita - play or dance - going. Sometimes it's lonely you know, just you and your own imagination.

In 'Me Before You,' the two characters popped into my head fully formed, which is really strange and unusual. Other books, I sit on them for two or three months. I have a whole routine: I buy a nice book; I hand-write all their characteristics. I put them through little tests just to see how they would react to things.

I took an MA course in creative writing a couple of years back, and I was definitely in the bottom of the class.

As a fiction writer, one of things you learn is God lives in specificity. You know, human kindness is increased as we pursue specificity.

I love telling stories. I don't really think in terms of clear 'aims.'