I always feel that whatever isn't necessary shouldn't be in a poem.
Never use a verb other than ‘said’ to carry dialogue.
I think what happens is you write how you grew up. And I was born on the prairie, and so everything is kind of spare on the prairie. And so I'm just used to writing in that way. 'Sarah, Plain and Tall' was that way. And most of my fiction is. I like writing small pieces. Somehow it just suits me.
When you catch an adjective, kill it. No, I don't mean utterly, but kill most of them--then the rest will be valuable. They weaken when they are close together. They give strength when they are far apart.
I think I'm succinct to the point of trying to write the two-word novel. Editing my work almost never means taking anything out but rather adding, because I'm always stripping down. I tend to under-write rather than over-write.
I didn't want my script to get too out of control like that. So I actually made it a point not to do stuff like that, to pretty - to keep it more sparse than it's been in the last few years, or the last decade.
I'm out of the terse Hemingway school.
My preference is for prose with more silence in it, language that contains more pockets of strangeness.
It takes me a long time to write, and I trust myself, so I write very sparsely, so when I do, I know it's good, you know what I mean? Rather than writing a whole bunch and having to sort out what's good and what's not.
It looks like you can write a minimalist piece without much bleeding. And you can. But not a good one.
