A Quote by Joe Haldeman

Bad books on writing tell you to "WRITE WHAT YOU KNOW", a solemn and totally false adage that is the reason there exist so many mediocre novels about English professors contemplating adultery.
French novels generally treat of the relations of women to the world and to lovers, after marriage; consequently there is a great deal in French novels about adultery, about improper relations between the sexes, about many things which the English public would not allow.
I write what I want to write. Period. I don't write novels-for-hire using media tie-in characters, I don't write suspense novels or thrillers. I write horror. And if no one wants to buy my books, I'll just keep writing them until they do sell--and get a job at Taco Bell in the meantime.
I think there's a false division people sometimes make in describing literary novels, where there are people who write systems novels, or novels of ideas, and there are people who write about emotional things in which the movement is character driven. But no good novels are divisible in that way.
I used to tell my writing students that they must write the books they wished they could come upon - because then the books they hungered and thirsted for would exist.
One wouldn't want to say that what makes a good writer is the number of books that the writer wrote because you could write a whole number of bad books. Books that don't work, mediocre books, or there's a whole bunch of people in the pulp tradition who have done that. They just wrote... and actually they didn't write a whole bunch of books, they just wrote one book many times.
The novels I planned to write were never going to be funny books about Jews. They were going to be country house books. Only later on could I write what I knew I was best at writing about.
I had wanted to write English crime novels based on the American hard-boiled style, and for the first two novels about Brixton, the critics didn't actually know I was Irish.
I think writing a book with film in mind is a way to write a really bad books. You can usually tell those books that are packaged to become films.
There's a writing adage that says, 'Write yourself into a corner.' My brother and I have always loved that adage.
Well, first you have to love writing. A lot of authors love having written. But I enjoy the actual writing. Beside that, I think the main reason I can be so prolific is the huge amount of planning I do before I start to write. I do a very complete, chapter-by-chapter outline of every book I write. When I sit down to write, I already know everything that's going to happen in the book. This means I've done all the important thinking, and I can relax and enjoy the writing. I could never write so many books if I didn't outline them first.
The secret to writing is writing. Lots of people I know talk about writing. They will tell me about the book they are going to write, or are thinking about writing, or may write some day in the future. And I know they will never do it. If someone is serious about writing, then they will sit down every day and put some words down on paper.
Books are great for if you want to work on the craft of writing for yourself, or, you know, to write novels or indie films, stuff like that.
I hate that rule that says write about what you know, it leads to too many British novels about marriages going slightly wrong. Write about what you don't know, just act as though you do.
Thomas Mann used to write education novels and now you can write an education memoir, and there are all these memoirs coming out now about people's relationships with books. Like anything else, these can be good or bad. The genre doesn't make it good or bad, it's the execution.
Fahrenheit 451 is one of those books that is about how amazing books are and how amazing the people who write books are. Writers love writing books like this, and for some reason, we let them get away with it.
The thing about writing is not to talk, but to do it; no matter how bad or even mediocre it is, the process and production is the thing, not the sitting and theorizing about how one should write ideally, or how well one could write if one really wanted to or had the time.
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