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
No matter how entertaining, diverse, concise, or detailed, a writing craft book is, it’s not going to work magic on you, it’s not going to suddenly make you a brilliant writer simply by reading it. You need to use what you read and learn in your own writing. Because that’s when you have those AHA moments. That’s when it really sticks.
It can be said that one slip of point of view by a writer can hurt a story badly, and several slips can be fatal.’ Stein on Writing
This whole show vs tell concept both bewilders and challenges my mind.