The only valid reason to use clichés is in the speech of a character. Cliches are indications of sloppy writing. The writer does not respect the scene he is trying to dramatize enough to fashion it through precise prose and imaginative imagery. From the book Dare to be a Great Writer: 329 Keys to Powerful Fiction by
Unless a writer lives with a periodic delusion of his greatness, he will not continue writing. He must believe, against all reason and evidence, that the public will experience a catastrophic loss if he does not complete his novel. The public is just clamoring to give him his fame. From the book Dare to be a Great Writer: 329 Keys to Powerful Fiction by
When you're a writer, you want to try to avoid cliches. Unfortunately, when you're writing about marriage or family, all cliches seem to apply.
Beware of clichés. Not just the clichés that Martin Amis is at war with. There are clichés of response as well as expression. There are clichés of observation and of thought - even of conception. Many novels, even quite a few adequately written ones, are clichés of form which conform to clichés of expectation.
If a writer of prose knows enough about what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an iceberg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing.
To idealize: all writing is a campaign against cliché. Not just clichés of the pen but clichés of the mind and clichés of the heart.
There's the fact that American fiction is basically the most apolitical fiction on the globe. A South American writer wouldn't dare think of writing a novel if it didn't allude to the system into which these people are orchestrated - or an Eastern European writer, or a Russian writer, or a Chinese writer. Only American writers are able to imagine that the government and the corporations - all of it - seem to have no effect whatsoever.
The reason that clichés become clichés is that they are the hammers and screwdrivers in the toolbox of communication.
Clichés are what good writing is all about. Because our lives are basically clichés.
The reason I'm a writer is to understand other people and myself more. The reason I'm a writer is to dramatize stories about human beings so that it improves my life. So that's a very selfish thing.
By the time I get through writing a score, I know the book better than the book writer does, because I've examined every word, and questioned the book writer on every word.
Two cliches make us laugh. A hundred cliches move us. For we sense dimly that the cliches are talking among themselves, and celebrating a reunion.
Creative non-fiction is such a liberating genre because it allows the non-fiction writer, whether he or she be journalist or essayist, to use all of the techniques of the fiction writer and all of the ideas, creative approaches, that fiction writers get a chance to use, but they have to use it in a true story.
In a sense, journalism can be both helpful and detrimental to a writer of fiction because the kind of writing you need to do as a journalist is so different. It has to be clear, unambiguous, concise, and as a writer often you are trying to do things that are more ambiguous. I find that writing fiction is often an antidote to reading and writing too much journalism.
Henry Miller is a famous writer whose work has fallen out of fashion, but I strongly recommend that readers who don't know his work pick up a book and experience this writer's zealous, crazy, inventive, funny, sexy, often delirious prose.
A prose writer gets tired of writing prose, and wants to be a poet. So he begins every line with a capital letter, and keeps on writing prose.
It's the cliches that cause the trouble. A precise emotion seeks a precise expression.