Writing fiction is not “self-expression” or “therapy”. Novels are for readers, and writing them means the crafty, patient, selfless construction of effects. I think of my novels as being something like fairground rides: my job is to strap the reader into their car at the start of chapter one, then trundle and whizz them through scenes and surprises, on a carefully planned route, and at a finely engineered pace.
The Guardian Review, 20 February 2010 source ↗
I was going to say work on what you love, but that's not really it. It's so easy to convince yourself that you love what you're doing — who wants to admit that they don't? When I think about it, the happiest and most successful people I know don't just love what they do, they're obsessed with solving an important problem, something that matters to them.
I held out for participation in the 1984 election the dictatorship called, even if I knew it would be rigged. I was warned by the lawyers of the opposition that I ran the grave risk of legitimizing the forgone results of elections that were clearly going to be fraudulent. But I was not fighting for lawyers, but for the people in whose intelligence I had implicit faith. By the exercise of democracy, even in a dictatorship, they would be prepared for democracy when it came.
Seeing that the past dictatorships were only capable of creating misery and crippling hope, how absurd to pretend to cure the evils of one extreme dictatorship by means of its opposite! No one in Central America has the right to fear freedom, no one is entitled to preach absolute truths. The evils of one dogma are the evils of any dogma. They are all the enemies of human creativity.
In order to grasp every opportunity, you cannot — you must not — decide your "career path" in advance. Don't have a job fixed in your sights and work backwards — it can be the road to disappointment because you risk passing up opportunities that might take you "off-course."
Don’t panic. Midway through writing a novel, I have regularly experienced moments of bowel-curdling terror, as I contemplate the drivel on the screen before me and see beyond it, in quick succession, the derisive reviews, the friends’ embarrassment, the failing career, the dwindling income, the repossessed house, the divorce . . . Working doggedly on through crises like these, however, has always got me there in the end. Leaving the desk for a while can help. Talking the problem through can help me recall what I was trying to achieve before I got stuck. Going for a long walk almost always gets me thinking about my manuscript in a slightly new way.
I'm writing with a clear lesbian agenda in the novels. It's right there at the heart of the books.
Treat writing as a job. Be disciplined. Lots of writers get a bit OCD-ish about this. Graham Greene famously wrote 500 words a day. Jean Plaidy managed 5,000 before lunch, then spent the afternoon answering fan mail. My minimum is 1,000 words a day – which is sometimes easy to achieve, and is sometimes, frankly, like shitting a brick, but I will make myself stay at my desk until I’ve got there, because I know that by doing that I am inching the book forward. Those 1,000 words might well be rubbish – they often are. But then, it is always easier to return to rubbish words at a later date and make them better.
Zadie Smith, John Banville, David Hare, Ursula K. Le Guin, Nick Cave, Sonny Rollins
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