A Quote by Richard Peck
We write by the light of every story we have ever read.
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Readers re-create any story to suit their own needs. They re-clothe the story in their own shirts. Put simply: just as we write the story we need to write, they read the story they need to read.
I don't read or write SF for cutting edge ideas; I read and write it for the storytelling, and every story is new. So have I brought anything new to it? Only in so far as no-one before has written about the characters I've invented in their particular situation.
I hardly ever think about audience. I just try to tell a story for me. I write the kind of story I would like to read.
When I am working on a book or a story, I write every morning as soon after first light as possible. There is no one to disturb you, and it is cool or cold, and you come to your work and warm as you write.
When I am working on a book or a story I write every morning as soon after first light as possible. There is no one to disturb you and it is cool or cold and you come to your work and warm as you write.
Every story has already been told. Once you've read Anna Karenina, Bleak House, The Sound and the Fury, To Kill a Mockingbird and A Wrinkle in Time, you understand that there is really no reason to ever write another novel. Except that each writer brings to the table, if she will let herself, something that no one else in the history of time has ever had.
It's hard to tell if anyone's interested in reading a serialized story. But it's interesting to put in a cliffhanger each week. That was popular in old comic strips. They'd write a weekend story different from the daily strip. So people follow one story day to day, and a separate story on weekends. If you read them, you think "I'll read two more." Then you're like "I gotta find out!" And you read 500 more.
When I am working on a book or a story I write every morning as soon after first light as possible. There is no one to disturb you and is it is cool and you come to your work and warm as you write. You read what you have written and, as you always stop when you know what is going to happen next, you go on from there. You write until you come to a place where you still have your juice and know what will happen next and you stop and try to live through until the next day when you hit again.
You always need to make sure that you're looking at every angle and every perspective so that people, when they read the story, know what's happening. You have to write for everyone.
If it's commercial fiction that you want to write, it's story, story, story. You've got to get a story where if you tell it to somebody in a paragraph, they'll go, "Tell me more." And then when you start to write it, they continue to want to read more. And if you don't, it won't work.
Cars are all jammed up all along the road and a light turns red and someone honks. In every one of those cars there is a story or a hundred stories. For every light on in al of those huge city buildings there is a story. No one knows what I am about to face and no one knows my story and neither do I right then.
This fear is one of the horrors of an author's life. Where does work come from? What chance, what small episode will start the chain of creation? I once wrote a story about a writer who could not write anymore, and my friend Tennessee Williams said, 'How could you dare write that story, it's the most frightening work I have ever read.' I was pretty well sunk while I was writing it.
The best advice is not to write what you know, it's to write what you like. Write the kind of story you like best - write the story you want to read. The same principle applies to your life and your career.
O why do I ever let anyone read what I write! Every time I have to go through a breakfast with a letter of criticism I swear I will write for my own praise or blame in future. It is a misery.
You are part of my existence, part of myself. You have been in every line I have ever read, since I first came here, the rough common boy whose poor heart you wounded even then. You have been in every prospect I have ever seen since-on the river, on the sails of the ships, on the marshes, in the clouds, in the light, in the darkness, in the wind, in the woods, in the sea, in the streets. You have been the embodiment of every graceful fancy that my mind has ever become acquainted with.
I seldom read on beaches or in gardens. You can't read by two lights at once, the light of day and the light of the book. You should read by electric light, the room in shadow, and only the page lit up.
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