A Quote by Lawrence Watt-Evans
There is no idea so stupid or hackneyed that a sufficiently-talented writer can't get a good story out of it.
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Stupid religion makes stupid beliefs, stupid leaders make stupid rules, stupid environment makes stupid health, stupid companions makes stupid behaviour, stupid movies makes stupid acts, stupid food makes stupid skin, stupid bed makes stupid sleep, stupid ideas makes stupid decisions, stupid clothes makes stupid appearance. Lets get rid of stupidity from our stupid short lives.
There is no idea so brilliant or original that a sufficiently-untalented writer can't screw it up.
I think the writer makes a good story good or a good story bad. The writer has a great deal of responsibility.
If I can find the right idea, I can get out of the way and do a good story.
The characters created cannot just be a mouthpiece for the writer. When you look at a piece of writing, and it's genuine and it doesn't feel like every character is just a mouthpiece for the writer, but that they've been created in such a way that they're expressing an idea that a writer wants to get across, that's when a story succeeds.
No idea should be discarded completely, but - as one might imagine - it does take a degree of ingenuity to find a new spin on something as hackneyed as the 'Adam and Eve' story. But if you think you've got the chops for it, there's no reason not to try.
Write a story a great writer would write. Because part of becoming an artist is pushing through all the disbelief of those around you, deciding that you are a writer when you have no idea what a plot is or whether what you've written is any good, or anything.
I think that there must be a point of self-immersion in a story that is a point of no return. You get far enough in that the story has really touched you to the core and deeply troubled you and made you unhappy and fearful, and then how do you get out of that? I'm a writer, so my way of getting out of that is to write.
A good writer can simulate a page torn out of somebody's diary, and give you every little voyeuristic thrill you might get from that, but actually tell you a broader story. I think it's a noble idea that it's cathartic to open a vein for everybody to see, but ultimately, you're just getting blood everywhere and making a mess. I like the idea that there are deeper and more meaningful things to talk about than your own misery. But at the same time, there's something really interesting about skirting that line and making it seem like you're doing that.
I'm rarely in a situation where, if you have a good idea, it's not embraced. That's stupid. And I don't work with stupid people.
I always give my students exercises where they really have to open a vein and bleed all over the paper and that's the way you get the important characters. Sooner or later every writer worth reading writes a story his mother wouldn't read and having to get that stuff out is part of one's growth as a writer.
The idea is not enough. And the most annoying thing for me as a writer is that people will come up to me and say, 'Hey, I've got a great idea for a book. I'm not a writer, but I've got a great story.'
Yes, I get dry spells. Sometimes I can't turn out a thing for three months. When one of those spells comes on I quit trying to work and go out and see something of life. You can't write a story that's got any life in it by sitting at a writing table and thinking. You've got to get out into the streets, into the crowds, talk with people, and feel the rush and throb of real life-that's the stimulant for a story writer.
The first is that good writing consists of mastering the fundamentals (vocabulary, grammar, the elements of style) and then filling the third level of your toolbox with the right instruments. The second is that while it is impossible to make a competent writer out of a bad writer, and while is equally impossible to make a great writer out of a good one, it is possible, with lots of hard work, dedication, and timely help, to make a good writer out of a merely competent one
On a more technical level, a story takes a lot of words. And to generate words and phrases and images and so on, that will compel the reader to continue reading - that stand a chance of really grabbing a reader - the writer has to work out of a place of, let's say, familiarity and affection. The matrix of the story has to be made out of stuff the writer really knows about and likes. The writer can't be stretching and (purely) inventing all the time. Well, I can't, anyway.
When I came to New York as a writer, I was taken with the idea that you're only getting in on bridges and ferries and through tunnels. The idea behind 'Takedown' is that it would be very hard to get out.
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