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Book going good having home just movie reading sex staying

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Andrzej Krauze Elmore Leonard: Using adverbs is a mortal sin 1 Never open a book with weather. But these are ordinarily found in non-fiction. A prologue in a novel is backstory, and you can drop it in anywhere you want. There is a prologue in John Steinbeck's Sweet Thursday, but it's OK because a character in the book makes the point of what my rules are all about.

The line of dialogue belongs to the character; the verb is the writer sticking his nose in. But "said" is far less intrusive than "grumbled", "gasped", "cautioned", "lied". I once noticed Mary McCarthy ending a line of dialogue with "she asseverated" and had to stop reading and go to the dictionary.

To use an adverb this way or almost any way is a mortal sin. The writer is now exposing himself in earnest, using a word that distracts and can interrupt the rhythm of the exchange. You are allowed no more than two or three per , words of prose. If you have the knack of playing with exclaimers the way Tom Wolfe does, you can throw them in by the handful.

This rule doesn't require an explanation. I have noticed that writers who use "suddenly" tend to exercise less control in the application of exclamation points. Notice the way Annie Proulx captures the flavour of Wyoming voices in her book of short stories Close Range. You don't want descriptions that bring the action, the flow of the story, to a standstill. Think of what you skip reading a novel: My most important rule is one that sums up the Diana Athill 1 Read it aloud to yourself because that's the only way to be sure the rhythms of the sentences are OK prose rhythms are too complex and subtle to be thought out — they can be got right only by ear.

Almost always it turns out that they'd be better dead. Not every little twinge of satisfaction is suspect — it's the ones which amount to a sort of smug glee you must watch out for.

Margaret Atwood 1 Take a pencil to write with on aeroplanes. But if the pencil breaks, you can't sharpen it on the plane, because you can't take knives with you.

In a pinch, pieces of wood or your arm will do. This is likely to work better if you can hold your own. But you don't know who the reader is, so it's like shooting fish with a slingshot in the dark. You don't get a pension plan. You've seen how the rabbits were smuggled into the hat. Therefore ask a reading friend or two to look at it before you give it to anyone in the publishing business. If you're lost in the plot or blocked, retrace your steps to where you went wrong.

Then take the other road. Fill pages as quickly as possible; double space, or write on every second line. Then calm down, and start worrying about the quality. Do feel anxiety — it's the job. Own it, and see it. Dickens knew Bleak House was going to be called Bleak House before he started writing it. Don't go near the online bookies — unless it's research. Chances are the words that come into your head will do fine, eg "horse", "ran", "said". Wash the kitchen floor, hang out the washing. Good ideas are often murdered by better ones.

I was working on a novel about a band called the Partitions. Then I decided to call them the Commitments. Helen Dunmore 1 Finish the day's writing when you still want to continue. If it still doesn't work, throw it away. It's a nice feeling, and you don't want to be cluttered with the corpses of poems and stories which have everything in them except the life they need.

Geoff Dyer 1 Never worry about the commercial possibilities of a project. That stuff is for agents and editors to fret over — or not.

Conversation with my American publisher. In the early s I went to live in Paris. The usual writerly reasons: Since then I've developed an aversion to writing in public.

I now think it should be done only in private, like any other lavatorial activity. The biggest regret of my writing life is that I have never kept a journal or a diary.

On the page they flare into desire. If it's a choice between writing a book and doing nothing I will always choose the latter.

It's only if I have an idea for two books that I choose one rather than the other. Make a habit of putting your observations into words and gradually this will become instinct. This is the most important rule of all and, naturally, I don't follow it. If something is proving too difficult, give up and do something else.

You've got to stick at it. That's what writing is to me: Anne Enright 1 The first 12 years are the worst. Remember that all description is an opinion about the world. Find a place to stand. Fiction is made of words on a page; reality is made of something else. It doesn't matter how "real" your story is, or how "made up": The thing that annoys this weeks-to-live self is the thing that is wrong with the book.

Stop arguing with yourself. And no one had to die. It may not improve your temper, but it fixes something else. It makes you more free. Richard Ford 1 Marry somebody you love and who thinks you being a writer's a good idea. Your judgment's always tainted. Jonathan Franzen 1 The reader is a friend, not an adversary, not a spectator. Substituting "then" is the lazy or tone-deaf writer's non-solution to the problem of too many "ands" on the page.

Esther Freud 1 Cut out the metaphors and similes. I still blush when I come across it. Read it aloud to yourself. If it doesn't spin a bit of magic, it's missing something. Cut until you can cut no more. What is left often springs into life. Don't let anything else interfere. Discipline is the key.

Not everything needs to be explained. If you really know something, and breathe life into it, they'll know it too. Neil Gaiman 2 Put one word after another. Find the right word, put it down. Whatever you have to do to finish it, finish it. Read it pretending you've never read it before. Show it to friends whose opinion you respect and who like the kind of thing that this is. Remember that, sooner or later, before it ever reaches perfection, you will have to let it go and move on and start to write the next thing.

Perfection is like chasing the horizon. That may be a rule for life as well as for writing. But it's definitely true for writing. So write your story as it needs to be written. I'm not sure that there are any other rules. Not ones that matter. David Hare 1 Write only when you have something to say. They may not be what you want to end up doing but you have to master them in the meanwhile.

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The Thinning



Book going good having home just movie reading sex staying

Andrzej Krauze Elmore Leonard: Using adverbs is a mortal sin 1 Never open a book with weather. But these are ordinarily found in non-fiction. A prologue in a novel is backstory, and you can drop it in anywhere you want. There is a prologue in John Steinbeck's Sweet Thursday, but it's OK because a character in the book makes the point of what my rules are all about.

The line of dialogue belongs to the character; the verb is the writer sticking his nose in. But "said" is far less intrusive than "grumbled", "gasped", "cautioned", "lied". I once noticed Mary McCarthy ending a line of dialogue with "she asseverated" and had to stop reading and go to the dictionary. To use an adverb this way or almost any way is a mortal sin.

The writer is now exposing himself in earnest, using a word that distracts and can interrupt the rhythm of the exchange. You are allowed no more than two or three per , words of prose. If you have the knack of playing with exclaimers the way Tom Wolfe does, you can throw them in by the handful.

This rule doesn't require an explanation. I have noticed that writers who use "suddenly" tend to exercise less control in the application of exclamation points. Notice the way Annie Proulx captures the flavour of Wyoming voices in her book of short stories Close Range. You don't want descriptions that bring the action, the flow of the story, to a standstill.

Think of what you skip reading a novel: My most important rule is one that sums up the Diana Athill 1 Read it aloud to yourself because that's the only way to be sure the rhythms of the sentences are OK prose rhythms are too complex and subtle to be thought out — they can be got right only by ear.

Almost always it turns out that they'd be better dead. Not every little twinge of satisfaction is suspect — it's the ones which amount to a sort of smug glee you must watch out for. Margaret Atwood 1 Take a pencil to write with on aeroplanes. But if the pencil breaks, you can't sharpen it on the plane, because you can't take knives with you.

In a pinch, pieces of wood or your arm will do. This is likely to work better if you can hold your own. But you don't know who the reader is, so it's like shooting fish with a slingshot in the dark.

You don't get a pension plan. You've seen how the rabbits were smuggled into the hat. Therefore ask a reading friend or two to look at it before you give it to anyone in the publishing business.

If you're lost in the plot or blocked, retrace your steps to where you went wrong. Then take the other road. Fill pages as quickly as possible; double space, or write on every second line.

Then calm down, and start worrying about the quality. Do feel anxiety — it's the job. Own it, and see it. Dickens knew Bleak House was going to be called Bleak House before he started writing it.

Don't go near the online bookies — unless it's research. Chances are the words that come into your head will do fine, eg "horse", "ran", "said". Wash the kitchen floor, hang out the washing. Good ideas are often murdered by better ones. I was working on a novel about a band called the Partitions. Then I decided to call them the Commitments.

Helen Dunmore 1 Finish the day's writing when you still want to continue. If it still doesn't work, throw it away. It's a nice feeling, and you don't want to be cluttered with the corpses of poems and stories which have everything in them except the life they need. Geoff Dyer 1 Never worry about the commercial possibilities of a project.

That stuff is for agents and editors to fret over — or not. Conversation with my American publisher. In the early s I went to live in Paris. The usual writerly reasons: Since then I've developed an aversion to writing in public. I now think it should be done only in private, like any other lavatorial activity. The biggest regret of my writing life is that I have never kept a journal or a diary. On the page they flare into desire. If it's a choice between writing a book and doing nothing I will always choose the latter.

It's only if I have an idea for two books that I choose one rather than the other. Make a habit of putting your observations into words and gradually this will become instinct.

This is the most important rule of all and, naturally, I don't follow it. If something is proving too difficult, give up and do something else. You've got to stick at it. That's what writing is to me: Anne Enright 1 The first 12 years are the worst. Remember that all description is an opinion about the world. Find a place to stand. Fiction is made of words on a page; reality is made of something else. It doesn't matter how "real" your story is, or how "made up": The thing that annoys this weeks-to-live self is the thing that is wrong with the book.

Stop arguing with yourself. And no one had to die. It may not improve your temper, but it fixes something else. It makes you more free. Richard Ford 1 Marry somebody you love and who thinks you being a writer's a good idea. Your judgment's always tainted. Jonathan Franzen 1 The reader is a friend, not an adversary, not a spectator. Substituting "then" is the lazy or tone-deaf writer's non-solution to the problem of too many "ands" on the page.

Esther Freud 1 Cut out the metaphors and similes. I still blush when I come across it. Read it aloud to yourself. If it doesn't spin a bit of magic, it's missing something.

Cut until you can cut no more. What is left often springs into life. Don't let anything else interfere. Discipline is the key. Not everything needs to be explained. If you really know something, and breathe life into it, they'll know it too. Neil Gaiman 2 Put one word after another. Find the right word, put it down. Whatever you have to do to finish it, finish it.

Read it pretending you've never read it before. Show it to friends whose opinion you respect and who like the kind of thing that this is. Remember that, sooner or later, before it ever reaches perfection, you will have to let it go and move on and start to write the next thing.

Perfection is like chasing the horizon. That may be a rule for life as well as for writing. But it's definitely true for writing. So write your story as it needs to be written.

I'm not sure that there are any other rules. Not ones that matter. David Hare 1 Write only when you have something to say. They may not be what you want to end up doing but you have to master them in the meanwhile.

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4 Comments

  1. Jumpstart your libido with these expert-approved lifestyle changes. Successful or not, if you keep pushing beyond yourself, you will enrich your own life — and maybe even please a few strangers. The researchers chose a novel over a short story because the length and depth of the novel would allow them to a set of repeated engagements with associated, unique stimuli sections of the novel set in a broader, controlled stimulus context that could be consumed between several periods in a brain scan.

  2. David Dobbs apparently has a quite different flow. The ability to put yourself in someone else's shoes improves theory of mind. By the time I wrote Aspergirls I had it streamlined:

  3. But excessive jealousy and controlling behaviors towards your partner are signs of your own feelings of unworthiness and you should learn to deal with them and not force them onto those close to you.

  4. Enhanced connectivity here was a surprise finding, but it implies that, perhaps, the act of reading puts the reader in the body of the protagonist. Ply them with wine and beg them for candor.

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