Easy reading is damn hard writing. But if it’s right, it’s easy. It’s the other way round, too. If it’s slovenly written, then it’s hard to read. It doesn’t give the reader what the careful writer can give the reader.

‚For Whom the Bell Tolls‘ was a problem which I carried on each day. I knew what was going to happen in principle. But I invented what happened each day I wrote.

I cannot claim to have had a hard time publishing.

Read over your compositions, and when you meet a passage which you think is particularly fine, strike it out.

I have not worked out my poems with a careful will, falling rather on haphazard and blind formulation of wordage, a more flowing concept, in a hope for a more new and lively path. I do personalize at times, but this only for the grace and elan of the dance.

Ending a sentence with a preposition is something up with which I will not put.

You have to have really wide reading habits and pay attention to the news and just everything that’s going on in the world: you need to. If you get this right, then the writing is a piece of cake.

I never start out with any kind of connecting theme or plan. Everything just falls the way it falls. I don’t ever think about what kind of fiction I write or what I am writing about or what I am trying to write about. When I’m writing, what I do is I think about a story that I want to tell.

What is written without effort is in general read without pleasure.

I talk to my readers on social networking sites, but I never tell them what the book is about. Writing is lonely, so from time to time I talk to them on the Internet. It’s like chatting at a bar without leaving your office. I talk with them about a lot of things other than my books.

Never be so brief as to become obscure.

Substitute ‚damn‘ every time you’re inclined to write ‚very‘; your editor will delete it and the writing will be just as it should be.

I’ve often made revisions at that stage that turned out to be mistakes because I wasn’t really in the rhythm of the story anymore. I see a little bit of writing that doesn’t seem to be doing as much work as it should be doing, and right at the end, I will sort of rev it up. But when I finally read the story again, it seems a bit obtrusive.

I don’t plot my books rigidly, follow a preconceived structure. A novel mustn’t be a closed system – it’s a quest.

Each book I’ve done somehow finds its own unique form, a specific way it has to be written, and once I find it, I stick with it.

Sometimes I get the start of a story from a memory, an anecdote, but that gets lost and is usually unrecognizable in the final story.

In constructing the plot and working it out with the proper diction, the poet should place the scene, as far as possible, before his eyes. In this way, seeing everything with the utmost vividness, as if he were a spectator of the action, he will discover what is in keeping with it, and be most unlikely to overlook inconsistencies.

I rewrote the ending to ‚Farewell to Arms,‘ the last page of it, thirty-nine times before I was satisfied.

Certainly it is valuable to a trained writer to crash in an aircraft which burns. He learns several important things very quickly. Whether they will be of use to him is conditioned by survival. Survival, with honor, that outmoded and all-important word, is as difficult as ever and as all-important to a writer.

I don’t even like showing my stuff to publishers and editors much.

I always rewrite each day up to the point where I stopped. When it is all finished, naturally you go over it. You get another chance to correct and rewrite when someone else types it, and you see it clean in type. The last chance is in the proofs. You’re grateful for these different chances.

It’s not possible to advise a young writer because every young writer is so different. You might say, ‚Read,‘ but a writer can read too much and be paralyzed. Or, ‚Don’t read, don’t think, just write,‘ and the result could be a mountain of drivel.

I’m not interested in cutting the feet off my characters or stretching them to make them fit my certain political view.

If you are going to write, say, fantasy – stop reading fantasy. You’ve already read too much. Read other things; read westerns, read history, read anything that seems interesting, because if you only read fantasy and then you start to write fantasy, all you’re going to do is recycle the same old stuff and move it around a bit.

One of the things that I tell beginning writers is this: If you describe a landscape, or a cityscape, or a seascape, always be sure to put a human figure somewhere in the scene. Why? Because readers are human beings, mostly interested in human beings. People are humanists. Most of them are humanists, that is.

Always try to use the language so as to make quite clear what you mean and make sure your sentence couldn’t mean anything else.

Nothing goes by luck in composition. It allows of no tricks. The best you can write will be the best you are.

When asked, ‚How do you write?‘ I invariably answer, ‚one word at a time.‘

A ratio of failures is built into the process of writing. The wastebasket has evolved for a reason.

Cut out all these exclamation points. An exclamation point is like laughing at your own joke.

I always have a basic plot outline, but I like to leave some things to be decided while I write.

While working on my first five books, I kept wishing I was writing a novel. I thought until you wrote a novel, you weren’t taken seriously as a writer. It used to trouble me a lot, but nothing troubles me now, and besides, there has been a change. I think short stories are taken more seriously now than they were.

Some writers sit down without a thought of what they are going to say, and they go through draft after draft.

When I start to write, I don’t have any plan at all. I just wait for the story to come.

Writing is such a strange, utterly mysterious process. First, there was nothing; then, suddenly, there was something. I don’t know where thoughts are born. Where the hell does it come from? I don’t know. I really don’t know.

Don’t use words too big for the subject. Don’t say ‚infinitely‘ when you mean ‚very‘; otherwise you’ll have no word left when you want to talk about something really infinite.

Brevity and conciseness are the parents of correction.

I start each book when it’s ready and never before.

Sporadic thoughts will pop into my head and I’ll have to go write something down, and the next thing you know I’ve written a whole song in an hour.

Writers have to put up with this editor thing; it is ageless and eternal and wrong.

Today, writers want to impress other writers.

If you want to be a writer, you must do two things above all others: read a lot and write a lot. There’s no way around these two things that I’m aware of, no shortcut.

I write the paragraph, then I’m crossing out, changing words, trying to improve it. When it seems more or less OK, then I type it up because sometimes it’s almost illegible, and if I wait, I might not be able to read it the next day.

If you want to be a good writer, be the best writer in the world. That’s what I’ve done.

I think the next thing I publish will be for children, but I don’t really want to be held to that because I also know what my next book for adults will be, and I really like that, too, so it depends. I’ve always had more than one thing going.

Often I sort of work up and down the manuscript. I sometimes used to go ahead of myself to see what was going to happen next, to make certain it fits what was going to be happening soon.

The writing process, the way I go about it is I do whatever the beat feels like, whatever the beat is telling me to do. Usually when the beat comes on, I think of a hook or the subject I want to rap about almost instantly. Within four, eight bars of it playing I’m just like, ‚Oh, OK. This is what I wanna do‘.

Short words are best and the old words when short are best of all.