A really well-done first draft of a book bares your soul. The purpose of revision is so that everyone who reads the published version believes you were writing about theirs.
On a related note, I think for many of us, the first step in becoming a good writer is to write crap. In all seriousness, none of us are born knowing how to write. Almost all of us will produce a lot of really lousy stories before we start to get good. (Not all of us will choose to publish those lousy stories, but that’s a whole separate discussion…)
It’s the writing that teaches you.
You need three things to become a successful novelist: talent, luck and discipline. Discipline is the one element of those three things that you can control, and so that is the one that you have to focus on controlling, and you just have to hope and trust in the other two.
Screenplays are structure, and that’s all they are. The quality of writing-which is crucial in almost every other form of literature-is not what makes a screenplay work. Structure isn’t anything else but telling the story, starting as late as possible, starting each scene as late as possible. You don’t want to begin with “Once upon a time,
You could say, in a way, that I’m not actually a writer, though perhaps I might be called a recorder? … I just happen to be one of those holding the pen, that’s all.
You are not an “author,” you are a writer. If your books are still selling like hotcakes ten years after your demise, THEN you’re an author.
…each part of a story, each word if possible, was to work frontally as well as laterally… (“Conveyance: The Story I would Not Want Bill Wilson To Read”)
The fictive is an emormous territory it turns out, its boundaries vague, and there is little certainty about where it begins and ends.
… yes I speak a different language – the dark fire of poetry – it flutters and gutters in tune with the mood