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“Cut like crazy. Less is more. I've often read manuscripts - including my own - where I've got to the beginning of, say, chapter two and have thought: “This is where the novel should actually start.” A huge amount of information about character and backstory can be conveyed through small detail. The emotional attachment you feel to a scene or a chapter will fade as you move on to other stories. Be business-like about it.”

“I don't particularly like the idea that there's an arc to the story and that therefore in this scene you have to convey this bit of information or emotion. I like more the feeling that, of course, there is a shape to the story, but that each scene should feel right, should be true at that moment, and that gradually you accumulate these moments of truth until you get enough of them together that it becomes a story that's interesting.”

“[It is hard to know what is good luck and what isn't and therefore whether we should be happy or sad about it. Only time will tell. For example...] The Talmud relates a story about two people who wanted to travel by boat. One broke his foot and was unable to make the trip, while his friend got on the boat. The one who missed the boat cursed his misfortune. A few days later, however, he heard that the boat sank and all the passengers drowned.”

“As to harmonizing the theory of evolution with the Biblical account of creation, I do not believe it can be done, and I do not see why it should be. The story of Genesis is beautiful, and profoundly significant as symbolism: there is no good reason to torture it into conformity with modern theory.”

“My own experience is that once a story has been written, one has to cross out the beginning and the end. It is there that we authors do most of our lying . . . one must ruthlessly suppress everything that is not concerned with the subject. If, in the first chapter, you say there is a gun hanging on the wall, you should make quite sure that it is going to be used further on in the story.”

“History is not the story of heroes entirely. It is often the story of cruelty and injustice and shortsightedness. There are monsters, there is evil, there is betrayal. That's why people should read Shakespeare and Dickens as well as history ~~ they will find the best, the worst, the height of noble attainment and the depths of depravity.”

“The story man must see clearly in his own mind how every piece of business will be put over. He should feel every expression, every reaction. He get far enough from his story to take a second look at it... to see whether there is any dead phase... to see whether the personalities are going to be interesting and appealing to the audience. He should also try to see that the things that his characters are doing are of an interesting nature.”

“Even one word, or certainly one sentence, should be able to describe the basic characteristic that the scene has, or the character has, or the story has. And then you begin to detail that one spine, and you have offshoots from that spine, and it becomes more and more complex, but all of it stems from that one-word, one-line theme, which can give the character, the scene, or the play its uniqueness.”

“What are the hallmarks of a competent writer of fiction? The first, it seems to me, is that he should be immensely interested in human beings, and have an eye sharp enough to see into them, and a hand clever enough to draw them as they are. The second is that he should be able to set them in imaginary situations which display the contents of their psyches effectively, and so carry his reader swiftly and pleasantly from point to point of what is called a good story.”

“The only real reason for self-referencing is the fun factor. It's fun for the writer, getting little peeks at what old characters might be up to. And it's fun for readers to spot a familiar face, or pick up on a made-up book title or something from an earlier story. I don't know that it does -- or even should -- contribute to the story in hand being any better than it would have been without it.”

“I should say that, in addition to my tree-love (it was originally called The Tree), it arose from my own pre-occupation with the Lord of the Rings, the knowledge that it would be finished in great detail or not at all, and the fear (near certainty) that it would be 'not at all'. The war had arisen to darken all horizons. But no such analyses are a complete explanation even of a short story.”