A Quote by Stephen King
I still think that of all the people doing top fiction today, John D. MacDonald is the best.He was my model as a kid. If there are people out there that want to write, all you need to do is read 20 of his stories to get an idea what it takes to make a story kick over.
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I don't think we need a critic to negotiate with the audience. People say, "Who are you writing for?" I'm writing for myself but my audience is anybody who knows how to read. I think a story should engage anybody who knows how to read. And I hope that my stories do, maybe on a different level for more sophisticated readers than, say, a high school kid, but still a story has got to grab you. That's why we read it.
You get a lot of narrative energy from people who make really big mistakes, who act against their best interests, who do things that turn out to have serious consequences. It's very hard make a story out of people doing the right thing over and over again.
In the thousands of stories I've collected over the years there are people who just want to know that their story matters, that their story isn't beyond hope. And people, no matter how broken a story I might read, I have always found at least a glimpse of God's hand still at work in each and every story. I have been powerfully reminded that God is in the junkyard business. He willingly walks into the messiest parts of our lives, gets his hands dirty, and begins building something beautiful out of that very thing which the world might overlook as worthless.
Write what you want to read. So many people think they need to write a particular kind of book, or imitate a successful style, in order to be published. I've known people who felt they had to model their book on existing blockbusters, or write in a genre that's supposed to be "hot right now" in order to get agents and publishers interested. But if you're writing in a genre you don't like, or modeling yourself on a book you don't respect, it'll show through. You're your first, most important reader, so write the book that reader really wants to read.
That's why I write fiction, because I want to write these stories that people will read and find universal.
In almost any change there is 20 - 60 - 20. 20% are doing the change and we need to stay out of their way. 20% will never get there (a large percent still go into banks to see tellers vs. ATMs). 60% are in the middle. I think you will always find some companies where the head of HR is not a member of senior management team (bottom 20% and some companies where she or he has always been (top 20%).
Long fiction is wonderful and you can lose yourself in it as a reader and as a writer, but short stories don't allow the same kind of immersion. Often the best stories hold you back and make you witness them. This may be one of the reasons some people reject the form. That and the fact that they are harder work to read. A story will not let you get comfortable and settle in. It is like a stool that is so small that you must always be aware of sitting.
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.
People who take books on sex to bed become frigid. You get self-conscious. You can't think a story. You can't think, "I shall do a story to improve mankind." Well, it's nonsense. All the great stories, all the really worthwhile plays, are emotional experiences. If you have to ask yourself whether or not you love a girl or you love a boy, forget it. You don't. A story is the same way. You either feel a story and need to write it, or you better not write it.
In fifth grade, we had to write a story and read it in front of the class. When I read mine out, the class were just belly laughing. And I remember being like, 'This is the coolest!' So I want to dedicate my life to trying to make people laugh. I can't imagine doing anything else.
I don't want to write things that people don't want to read. I would have no pleasure in producing something that sold 600 copies but that was considered very wonderful. I would prefer to sell 20,000 copies because the readers loved it. When I write books I don't actually think about the market in that way. I just tell myself the story. I don't think I'm talking to a 10-year-old boy or a six-year-old girl. I just write on the level the story seems to call for.
You have such a sacred responsibility when you touch John Lewis's story, when you touch the story of the movement. You don't want to leave anything out, but you want to tell a good story so the people will read it and they're engaged and they don't fall apart with extraneous details.
There are a lot of great love stories. It's just the best thing. Why wouldn't you write about it? Why wouldn't you want to read about it? But it's hard to write about. It's weird to have such a powerful and universal feeling and hope that you can write that and make it real for people.
If you want to hire the best people, the best people are already doing pretty impressive things. They have their life plans, their picture for what they want to be doing. To figure out a way in which those trajectories align really takes time.
Sad to think that we won't have any new stories from John Updike, one of the last century's masters. But so many here in the two volumes of his collected stories, 186 by my count, stories to read, reread, savor over the course of a cold season. Updike's genius in the short form spills out of these many, many pages.
I get hundreds of emails daily and a lot of feedback from people that are reading or have read my books. When I'm writing, or in my daily life, I just think of the work. I love to tell a story, but I might work with a story to make it the best I can without thinking of how many people will read it or if it will influence anybody.
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