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I had a dear friend who had a gift for telling stories about her day. She’d launch into one, and suddenly everyone around her would hush up and lean in, knowing that whatever followed would be pure entertainment. A story of encountering a deer on the highway would involve interludes from the deer’s point of view. Strangers who factored into her tales would get nicknames and imagined backstories of their own. She could make even the most mundane parts of her day—and everyone else’s—seem interesting. She didn’t aspire to be a writer, but she was a born storyteller.

Why All Nonfiction Should Be Creative Nonfiction

The term creative nonfiction often brings to mind essays that read like poems, memoirs that read like novels, a lyrical way of interpreting the world around us. But the truth is that writing nonfiction—from blog posts to routine news reports to business guides—can (and should) be creative work. And the more creativity you bring to any piece, the better it’s likely to be received, whether your target reader is a friend, a website visitor, an editor or agent, or the public at large.

The March/April 2015 Writer’s Digest goes on sale today—and this issue delves into the creative sides of many types of nonfiction.

• Learn seven ways to take a creative approach to any nonfiction book—whether you wish to write a self-help title, a historical retelling, a how-to guide, or something else entirely.

• Get tips for finding the right voice for your essays, memoirs and other true-to-life works—and see how it’s that voice above all else that can make or break your writing.

• Delve into our introduction to the nonfiction children’s market—where writers can earn a steady income by opening kids’ eyes to the world around them.

• And find out what today’s literary agents and publishers are looking for in the increasingly popular narrative nonfiction genre—where books ranging from Rebecca Skloot’s The Immortal Life of Henrietta Lacks to Roxane Gay’s Bad Feminist to Susan Cain’s Quiet have been reinvigorating the bestseller lists.

Why Readers Love True Stories

“Narrative nonfiction has become more in-demand because it provides additional value; it’s entertaining and educational,” explains agent Laurie Abkemeier in our narrative nonfiction roundtable. “There are many forms of entertainment vying for our attention, and the ones that give us the highest return for our time and money investment are the ones that we gravitate toward.”

So give your readers that amazing return. The articles packed into this informative, diverse and boundary-pushing issue will show you how. Download the complete issue right now, order a print copy, or find it on your favorite newsstand through mid-April.

Jessica Strawser
Editor, Writer’s Digest Magazine
Follow me on Twitter @jessicastrawser

Now more than ever before, there are so many things we can do to promote our books, articles, stories, essays, services, and other creative works and skills—regardless of whether we’re self-published, traditionally published, or even not-yet-published. Bookstore and library events remain staples, of course, as do reviews, mentions and bylines in prominent media. But add to the mix blog tours, home pages, social networking sites, free promos, cheap promos, paid placements, Web ads, print ads, Goodreads giveaways, email lists, indie author coalitions, and the myriad services claiming to increase “discoverability,” and one thing becomes clear:

You can’t do them all.

And even if you could, who would want to? Just reading that list is enough to make even a savvy marketer’s head spin.

What you need is a strategy—one that’s developed through a solid understanding of what makes the best sense for you and your work, while allowing flexibility to bend with the changing winds.

I don’t need to tell you that self-promotion and platform building are important. In a reader survey we conducted in 2014, 61 percent of respondents listed “to learn how to promote myself and my work” as one of the primary reasons they read Writer’s Digest magazine, and 45 percent of readers requested even more coverage of the topic.

The February 2015 Writer’s Digest delivers. It’s our best and most up-to-date resource on how to promote your work—and it’s hot off the press and on newsstands now. Here’s an exclusive sneak peek at what’s inside.

Keys to a Successful Promotional Strategy

In creating this issue, first, we identified two key areas worth focusing on: your author website (essential for scribes of all stripes, from freelancer to novelist, from beginner to multi-published author) and Goodreads (a must for book authors in particular). We enlisted experts to deconstruct what you need to know to make the most of each medium. Digital media pro Jane Friedman’s “Your Author Website 101” and bestselling hybrid author Michael J. Sullivan’s “Get in Good With Goodreads” are comprehensive guides ripe for earmarking, highlighting, and referencing again and again. Whether you’re just starting to investigate how to promote a book or you are looking to create a Web presence that will be the foundation of your career, these articles are a great place to start.

Then, we put a call out to the writing community asking for “Success Stories in Self-Promotion”—and we got them, in droves. Learn through the real-life trial and error of writers whose promotional efforts ultimately yielded impressive sales, further opportunities, and, in some cases, even agents and book deals.

Best of all, as those authors share their secrets and tips, you’ll notice one key takeaway that comes up again and again:

If they can do it, so can you.

Doing What Works for You

That underscores the point that in working to improve both our craft and our career, it can help for us writers to stick together—to use one another as the valuable resources we are. The February issue also features a WD Interview with Garth Stein, best known for his runaway bestseller The Art of Racing in the Rain and his latest novel, A Sudden Light. Stein had more great insights than we had space to print, so in our online exclusive outtakes from the interview, he talks about how he came to co-found the literacy outreach group Seattle7Writers, and why every writer should have a writing friend.

The February 2015 Writer’s Digest is already getting some great buzz on Twitter, Facebook and blogs from other writers who likely share in the same platform and promotional challenges that you do. If you’re looking for fresh tips on how to promote your work—plus the usual doses of writing inspiration and craft advice we put into every issue of WD—you won’t want to miss it!

Happy Writing,
Jessica Strawser
Editor, Writer’s Digest Magazine
Follow me on Twitter @jessicastrawser.

Two Cups of Tea by peppermint quartz on DeviantArt, Creative Commons Attribution 3.0 License, http://fav.me/d4ahdt1

Happy New Year!

Happy … and yet.

Everywhere you look, it’s all about pushing ourselves, isn’t it? First came November’s NaNoWriMo, with all the tips for writing more, more, more, writing faster, faster, faster. Then came the holidays, with 12 days left to shop/plan/wrap/bake/revise that manuscript from last month, 11, 10, 9 … And now it’s on to who can make the biggest commitment to his or her writing in the coming year.

I should start by saying that I am a huge believer in having a writing discipline. When I’m in the midst of a writing project, I feel I have to work on it most days—often at odd hours, and for longer than I’d intended (much to the frustration of the non-writers around me)—to keep the momentum going.

And yet, it’s not always human to expect ourselves to maintain that intensity and speed and productivity indefinitely. So with all that said, I’ll also say this:

If it starts to become a drag, you’re doing it wrong.

Best in Class Writing Advice

For a long time, I’ve been wanting to start a series of blog posts here celebrating the best-in-class writing advice that we at Writer’s Digest have collected over the years. I’ve had the privilege of discussing the craft of writing with so many authors who I deeply admire for our WD Interview cover stories. You’d think all those conversations might run together in my mind after a while, but in fact the opposite happens: The best advice rises to the top.

I’d like to kick off 2015—and this Best in Class writing advice series—by spotlighting wise words from two famed writers who offer unique twists on the age-old writer’s advice that we must Write Every Day. Both of these interviews were “click” moments for my own writing discipline, and they just might be for yours, too.

You Don’t Have to Write Every Day, but You Should Do This

• The first is from my October 2010 WD Interview with literary legend (perhaps best known for The Color Purple) and activist Alice Walker:

 “… Part of writing is not so much that you’re going to actually write something every day, but what you should have, or need to have, is the possibility, which means the space and the time set aside—as if you were going to have someone come to tea. If you are expecting someone to come to tea but you’re not going to be there, they may not come, and if I were them, I wouldn’t come. So, it’s about receptivity and being home when your guest is expected, or even when you hope that they will come.”

• The second is from my October 2012 WD Interview with Patricia Cornwell, a very different sort of writer, who almost single-handedly launched the forensic thriller genre with her iconic series character Dr. Kay Scarpetta:

“Treat your writing like a relationship and not a job. Because if it’s a relationship, even if you only have one hour in a day, you might just sit down and open up your last chapter because it’s like visiting your friend. What do you do when you miss somebody? You pick up the phone. You keep that connection established. If you do that with your writing, then you tend to stay in that moment, and you don’t forget what you’re doing. Usually the last thing I do before I go to bed is sit at my computer and just take a look at the last thing I was writing. It’s almost like I tuck my characters in at night. I may not do much, but I’m reminding myself: This is the world I’m living in right now, and I’ll go to sleep and I’ll see you in the morning.”

What they’re both saying, and what I myself believe to be true, is this: You don’t always have to force yourself to write every day, but you do need to make the time and space to spend with your writing as regularly as you can. If you do, it will come when it’s ready.

To my mind, that’s a lot less intimidating than writing every day. It’s a lot more zen, organic, intuitive, enjoyable—and effective, too.

How to Really Start the New Year Right

One of my favorite articles in our January 2015 Writer’s Digest—a comprehensive novel writing guide boldly proclaiming on its cover that “This Is the Year You Write That Novel!”—is an in-depth look from therapist-turned-writer Tracey Barnes Priestley on the real reasons so many writers give up on their writing resolutions, and how we can get out of our own ways and make real progress in the weeks and months ahead. That article, “Why So Many Writers Give Up Mid-Novel—and How Not to Be One of Them,” and the January issue as a whole, is a warm, encouraging companion for the writing year ahead. It’s on newsstands for only one more week, so I encourage you to get your copy while you can! Of course, it will also remain available for instant download in The Writer’s Digest Shop.

What’s your philosophy on your writing routine in this new year? What’s your own preferred approach to writing (or making room for writing) every day? Let’s continue the discussion in the comments thread below!

Wishing you and your writing a great year ahead.

Jessica Strawser
Editor, Writer’s Digest Magazine
Follow me on Twitter @jessicastrawser.

Light-bulb moments. Aha moments. Flashes of recognition. Revelations. Call them whatever you like. I like to think of them as clicks.

In the writing life, the best kind of click is that moment something makes you realize exactly what’s been missing from the not-quite-right scene you’ve been working on. Or the instant you put two plot points together and suddenly have a clear view of what’s really beneath your character’s behavior. Or the random tip on plot structure that magically conjures for you a map of how everything in your messy draft might fit together after all.

Clicks. They’re satisfying, exciting, inspiring, invigorating. And they’re the stuff writers live for.

The January 2015 Writer’s Digest—devoted to all things novel writing—releases today, and I’m so excited to finally be able to offer you a preview of what’s inside. We’ve done our best to fill this issue with the types of craft advice and writing techniques that help things click into place. Because whether your own moments of realization are quiet head nods or loud exclamations of triumph, as subtle as the click of a key in a lock or dramatic as a stack of papers launched into the air, we know it’s the bits of advice that resonate that can make all the difference for your novel-in-progress.

First, award-winning novelist David Corbett shares what made his own characters finally click on the page—and how you can paint more effective pictures of the players in your own stories, too. Then, longtime contributor Elizabeth Sims details techniques for mastering one of the most notoriously difficult elements of fiction: dialogue. Bestselling novelist Steven James shows you precisely how to manage the flow of tension and conflict in your story—through multiple plot points, climaxes, subplots and more. Therapist-turned-writer Tracey Barnes Priestley delves into the real reasons “Why So Many Writers Give Up Mid-Novel—and How Not to Be One of Them.” And four bestselling series writers take you behind the scenes with their iconic characters to show you what it is that gives a novel that special something that makes readers want another installment, and another, and another.

We all know that writing a novel isn’t easy. But in those moments that something clicks, suddenly anything seems possible. Here’s to many ahas on the pages—and in the new year—ahead.

Get your copy of our “This Is the Year You Write That Novel!” issue on your favorite newsstand starting today, or download the January 2015 Writer’s Digest and start reading right now.

Happy Writing,
Jessica Strawser
Editor, Writer’s Digest Magazine
Follow me on Twitter @jessicastrawser.

When I compiled the roundup of reader-submitted tips, stories and advice for our “Plan Your Own Write-a-Thon” feature in the November/December 2014 Writer’s Digest, one of my favorites was from a mother who was inspired to try NaNoWriMo because her daughter was doing it. Here’s a part of what Angela C. Lebovic, of North Barrington, Ill., wrote:

I’ve always wanted to be a writer. One day, I’d actually do it—write a complete story. I just hadn’t done it yet. I had plenty of ideas, and many starts, but no completion. Then one day my 10-year-old daughter was given an assignment to write a 15,000-word novel for NaNoWriMo. I was encouraging her, letting her know that she could accomplish anything if she set her mind to it, when I thought I should put my word count where my mouth is and join her. If she could write a book in one month, then why couldn’t I, a grown woman who has aspired to be a published author my whole life?

When you read that story, what’s your takeaway? Here’s mine:

1. In encouraging someone else to write—or read—you might just find that you encourage yourself.

One of our forthcoming issues of the magazine (stay tuned!) features an author by the name of Jeff Gunhus. In encouraging his 11-year-old reluctant reader son to read, he made up a story about a hero named Jack Templar Monster Hunter—and ended up launching an Amazon bestselling series for young readers in the process. (You can read more about his story—plus his 10 Tips for Reading Your Reluctant Reader—here.)

2. By encouraging someone else’s love of words and stories, you are cultivating an audience of more readers.

Neither of my parents are writers, but both of them always supported my love of books—and words. When I had to stay home sick from school, my mom would play Boggle with me for hours on end. When we went to the store and my brother begged for baseball cards, I was allowed to pick out a Nancy Drew. When I was on summer vacation, they signed me up for a writing day camp (I still have the “I Heart Writing” button that used to adorn my jean jacket). And when I was old enough to volunteer at the library but not yet old enough to drive, they took me to and from my shifts manning the public library’s Summer Reading Program table.

Today, I’m not just the writer in the family. Guess who also buys—and shares—the most books and magazines? Guess who everyone else buys the most books and magazines for on birthdays and holidays?

As a writer, you need an audience. As an aspiring writer, you’ll need future readers. People tell us everyday that the reading public is shrinking. Why not do your part to combat that? As bestseller Brad Meltzer is fond of saying: Ordinary people change the world.

3. Good stories connect people.

There’s a reason book clubs are so popular, and it’s not just that people want to have motivation to actually read the stuff on their wish lists. It’s that people want to have an excuse to get together, socialize for a few hours and talk about a common interest.

We moved to a new neighborhood over the summer. I was eager to meet our neighbors, hoping my kids would find playmates on our street. Of all the families we’ve met, one family of four has become our fastest friends—and it’s not because our kids are the same age (they’re not) or our backyards meet (they don’t). It’s because the mom is a school librarian and I’m an editor and when her e-reader hold on Gone Girl expired before she was done reading it, I had a copy on my shelf. It’s because the dad reads presidential biographies like they’re going out of style and my husband is addicted to history-themed podcasts. We have since discovered that none of us ever feel like cooking on Fridays. A win-win for everyone, including the pizza man.

4. Sharing makes you feel warm and fuzzy inside.

My 3-year-old is a ball of energy who almost never sits still—unless we’re reading a story. Every night, he gets to pick two. We snuggle up with his stuffed animals, and most nights, my baby girl listens in, too. It’s my favorite part of the day, and I think it’s theirs, too.

The other night, he asked me whose photo was on the back flap of a picture book we’d just read. I explained that that was the man who had written the book.

“I want to have my picture in a book one day,” my son said, sleepily.

Music to my ears.

5. Whatever has influenced your own love of words, it’s important to pay that forward.

How have others shared their love of reading or writing with you in memorable ways? How do you share it with the people in your life? How could you do more of that?

Share your story in the comments below to keep the conversation going. Who knows—you might inspire someone else right here!

And for those in the midst of NaNoWriMo, to learn more about how the support of the writing community can do wonders for your word count, don’t miss the November/December 2014 Writer’s Digest, all about Writing a Book in a Month, available online and on a newsstand near you.

Happy Writing,
Jessica Strawser
Editor, Writer’s Digest Magazine
Follow me on Twitter: @jessicastrawser

With Halloween just one week away, we’re getting into the spirit of the season with these 13 quotes on the writing life from famous authors of horror, thriller and suspense:

1. “So where do the ideas—the salable ideas—come from? They come from my nightmares. Not the night-time variety, as a rule, but the ones that hide just beyond the doorway that separates the conscious from the unconscious.”
—Stephen King, “The Horror Writer Market and the Ten Bears,” November 1973, WD

2. “The first thing you have to know about writing is that it is something you must do everyday. There are two reasons for this rule: Getting the work done and connecting with your unconscious mind.”
—Walter Mosley

3. “I hope people are reading my work in the future. I hope I have done more than frightened a couple of generations. I hope I’ve inspired a few people one way or another.”
—Richard Matheson

4. “When one is writing a novel in the first person, one must be that person.”
—Daphne du Maurier

5. “When I write, I try to think back to what I was afraid of or what was scary to me, and try to put those feelings into books.”
—R.L. Stine

6. “[Horror fiction] shows us that the control we believe we have is purely illusory, and that every moment we teeter on chaos and oblivion.”
—Clive Barker

7. “Beauty is the sole legitimate province of the poem.”
—Edgar Allan Poe

8. “I have always loved to use fear, to take it and comprehend it and make it work and consolidate a situation where I was afraid and take it whole and work from there.”
—Shirley Jackson

9. “Writing is writing, and stories are stories. Perhaps the only true genres are fiction and nonfiction. And even there, who can be sure?”
—Tanith Lee

10. “I always wanted to be in the world of entertainment. I just love the idea of an audience being happy with what I am doing. Writing is showbusiness for shy people. That’s how I see it.”
—Lee Child

11. “I don’t think there is enough respect in general for the time it takes to write consistently good fiction. Too many people think they will master writing overnight, or that they are as good as they will ever be.”
—Tananarive Due

12. “What I love about the thriller form is that it makes you write a story. You can’t get lost in your own genius, which is a dangerous place for writers. You don’t want to ever get complacent. If a book starts going too well, I usually know there’s a problem. I need to struggle. I need that self-doubt. I need to think it’s not the best thing ever.”
—Harlan Coben, WD Interview, January 2011

13. “My reason for writing stories is to give myself the satisfaction of visualising more clearly and detailedly and stably the vague, elusive, fragmentary impressions of wonder, beauty, and adventurous expectancy which are conveyed to me by certain sights (scenic, architectural, atmospheric, etc.), ideas, occurrences, and images encountered in art and literature.”
—H.P. Lovecraft 

Want to write your own horror, thriller or suspense novel? Then learn from a master with The Writer’s Digest Annotated Classic: Dracula.

___________

Tiffany Luckey is the associate editor of Writer’s Digest. She also writes about TV and pop culture at AnotherTVBlog.com. Follow Tiffany on Twitter @TiffanyElle.

Image by Beliroz, deviantART, courtesy of a Creative Commons License: http://beliroz.deviantart.com/art/Keyboard-in-the-night-183881657

While I’ll be cheering on NaNoWriMo participants from the sidelines this year rather than joining the race, I am forever looking for ways to expand my own daily word count—not just in November, but all 12 months of the year. My goals may be more modest (while they fluctuate depending on my work-in-progress and what stage it’s in, I currently aim for an average of 1,000 words a day, six days a week), but with a full-time job and a family, they’re not easy to meet.

When people find out I’ve got a novel in progress, they inevitably stop to take in my energetic 3-year-old boy, already-almost-walking 9-month-old girl, and full-time job overseeing Writer’s Digest magazine and say the same thing: Wow, you have your hands full.

I do. Literally. If I’m not in the office, you can often find me with a giggling, hair-pulling baby in my arms, a pot on the stove (or, um, the pizza guy on the phone), and a little boy dressed as a superhero tugging on my pant leg.

So for me, pushing my daily word count is about finding ways to write in between the times when I can actually sit uninterrupted at my laptop. Here are three methods that work for me—and may just work for you, too.

1. Ms. Phone, please take a letter …

On TV commercials, people talk to their phones to find out where the nearest Chinese restaurant is or to remind themselves to buy flowers for their anniversary. I talk to my phone to record ideas for fictional scenes that pop into my head at random moments of the day. Snippets of dialogue, emotional descriptions and plot notes all get recorded to be sure they don’t evaporate before I can get to my keyboard.

On my drive home from work, I have about 15 minutes of quiet time alone in the car until I pull into the daycare. Sure, sometimes I listen to music, or NPR news. But especially if I don’t yet know what scene I’m going to tackle after the kids are in bed that night, I like to use this time to brainstorm. Hands-free, I’ll dictate what comes to me into my phone. I once “wrote” 650 words between quitting time at work and pickup time at daycare. Sure, there were lots of misunderstood words and typos to correct—no voice command app is perfect—but when I do get to the computer, cleaning up the copy is far easier than starting from scratch.

2. Go go Gadget keyboard …

There are other times—say, if a baby is napping on my shoulder—that I can get my hands free but not balance a full-sized laptop on my lap. And we’ve all had those moments when we don’t have our computers in reach when inspiration strikes—but we do happen to have a tablet or smartphone with us, so we try to peck out the words on our touch screens as fast as we can, all the while grumbling that our fingers can’t catch up to our brains.

That’s where my Bluetooth keyboard comes in. I got one for my birthday back in August, and my husband is still pretty proud of himself for how much I rave about it. For only about $30, it came with a slim case and slips easily into my purse. No matter where you are, simply pair it with whatever device you have on hand, and voila! You can actually type out a scene or notes at full speed. When I have my Bluetooth keyboard along, I no longer mind if a friend is late to meet me for lunch, or if my dentist leaves me in the waiting room. In fact, sometimes I’m secretly glad.

3. Note to self …

It is one of the stranger side effects of the writing life that I email myself perhaps more than I send messages to anyone else. But every day, no matter how busy I am, whether I’m using one of the methods above or another, I try to at the very least send myself the briefest of notes regarding what my next scene will be.

At worst, when I sit down at my keyboard later, I’ll have some kind of starting point, rather than a blank screen (and a blank brain). At best, if I’ve gotten a little carried away with my note taking, my scene might already be half-written.

What I’ve found is this: Whether you’re a “pantser” or a plotter (or, in my case, a little of both), when you sit down to write with SOME kind of notes in front of you, you’ll spend less time getting in the groove and more time churning out words.

The November/December Writer’s Digest magazine is filled with Tips and Inspiration to Write a Book in a Month, including advice for developing a write-a-thon strategy and keeping the words coming. If you’re looking to increase your productivity or planning for NaNoWriMo, check out a preview in the Writer’s Digest Shop, download it instantly, or find it on a newsstand near you.

What about you? How do you increase your daily word count? From one hands-full writer to another, I invite you to leave your own tips in a comment below—we can all use all the help we can get!

Happy Writing,
Jessica Strawser
Editor, Writer’s Digest Magazine
Follow me on Twitter: @jessicastrawser

One of the things I love about working at Writer’s Digest is the excitement each time a new issue hits newsstands. And it’s especially true with the November/December 2014 Writer’s Digest–because this special guide to Writing a Book in a Month arrives just in time for November’s National Novel Writing Month challenge. Regardless of whether you’re participating in NaNoWriMo, counting down 30 Days to Your Novel on your own schedule, or simply looking to write your next draft faster, this is an issue you won’t want to miss.

Find Writing Inspiration and Confidence

As a parent of both a baby and a toddler, I am surrounded by constant reminders that a lot can happen in a month. Still, it never fails to astonish me. A reliance on wriggling as a means of transportation turns into a full-speed crawl on all fours. A tearful transition to a new preschool becomes an over-the-shoulder wave in a rush to join new friends around the train table. Skills grow or are replaced by new ones, routines change, habits are formed or dropped.

As I compiled the November/December 2014 Writer’s Digest, filled with stories of big triumphs over short periods of time, it occurred to me that as adults, we don’t lose that ability to transform ourselves or our work—but we do tend to forget that we have it. And what a shame that is. Know this: Deep down, we are capable of taking more than baby steps. If we set our minds to it, we can cross major milestones in leaps and bounds. And that goes for our writing, too.

Writing a book in a month might sound a little crazy. In a way, I think that’s part of its allure—because write-a-thon challenges are steadily gaining in popularity. Every November 1, National Novel Writing Month’s online hub at NaNoWriMo.org draws nearly half a million writers worldwide in an attempt to write 50,000 words in 30 days. As NaNoWriMo director Grant Faulkner shares in this issue’s article “What Makes NaNoWriMo Work,” that solidarity is a big part of what keeps the challenge growing every year. Because no matter how hard you have (or haven’t) trained to prepare for this marathon, once the starting pistol fires everyone is pretty much in the same pack, throwing caution to the wind and cheering one another in one big, messy sprint to the far-away finish.

Of course, you don’t need a worldwide event to take a book-in-a-month challenge. And you don’t need to be writing a novel. Solo writers, partners and groups of all stripes do word count marathons year-round. We reached out to these writers and asked them to share their most profound lessons learned, and you’ll find the best of their firsthand advice in “Plan Your Own Write-a-Thon.” (In fact, we got more great advice than we had space to print! Read more tips and tales from the writing community in our online-exclusive outtakes, Write a Book in a Month: More Writers Share Their Experience & Advice.)

Once all that inspiration has you writing up a frenzy, we wanted to make sure you have some roadside assistance ready to help when you start to run out of gas—and that’s where Elizabeth Sims’ “21 Fast Hacks to Fuel Your Story With Suspense” comes in.

Your book idea might be in its infancy now, but take it from me—with some extra attention on your part, soon it can be surprising and delighting you with its strength, determination and newfound ability to stand on its own two feet, grinning from ear to ear.

Conquer Your Word Count Goals

Are you planning to participate in this year’s NaNoWriMo? Looking to up your daily word counts just a bit in solidarity with those who are? We’d love to hear about your writing goals–leave a comment below to keep the conversation going!

Get your copy of the Write a Book in a Month! issue on your favorite newsstand, or download the November/December 2014 Writer’s Digest right now.

Happy Writing,
Jessica Strawser
Editor, Writer’s Digest Magazine
Follow me on Twitter @jessicastrawser.

One of the things I love about working at Writer’s Digest is the excitement each time a new issue hits newsstands. And it’s especially true with the November/December 2014 Writer’s Digest–because this special guide to Writing a Book in a Month arrives just in time for November’s National Novel Writing Month challenge. Regardless of whether you’re participating in NaNoWriMo, counting down 30 Days to Your Novel on your own schedule, or simply looking to write your next draft faster, this is an issue you won’t want to miss.

Find Writing Inspiration and Confidence

As a parent of both a baby and a toddler, I am surrounded by constant reminders that a lot can happen in a month. Still, it never fails to astonish me. A reliance on wriggling as a means of transportation turns into a full-speed crawl on all fours. A tearful transition to a new preschool becomes an over-the-shoulder wave in a rush to join new friends around the train table. Skills grow or are replaced by new ones, routines change, habits are formed or dropped.

As I compiled the November/December 2014 Writer’s Digest, filled with stories of big triumphs over short periods of time, it occurred to me that as adults, we don’t lose that ability to transform ourselves or our work—but we do tend to forget that we have it. And what a shame that is. Know this: Deep down, we are capable of taking more than baby steps. If we set our minds to it, we can cross major milestones in leaps and bounds. And that goes for our writing, too.

Writing a book in a month might sound a little crazy. In a way, I think that’s part of its allure—because write-a-thon challenges are steadily gaining in popularity. Every November 1, National Novel Writing Month’s online hub at NaNoWriMo.org draws nearly half a million writers worldwide in an attempt to write 50,000 words in 30 days. As NaNoWriMo director Grant Faulkner shares in this issue’s article “What Makes NaNoWriMo Work,” that solidarity is a big part of what keeps the challenge growing every year. Because no matter how hard you have (or haven’t) trained to prepare for this marathon, once the starting pistol fires everyone is pretty much in the same pack, throwing caution to the wind and cheering one another in one big, messy sprint to the far-away finish.

Of course, you don’t need a worldwide event to take a book-in-a-month challenge. And you don’t need to be writing a novel. Solo writers, partners and groups of all stripes do word count marathons year-round. We reached out to these writers and asked them to share their most profound lessons learned, and you’ll find the best of their firsthand advice in “Plan Your Own Write-a-Thon.” (In fact, we got more great advice than we had space to print! Read more tips and tales from the writing community in our online-exclusive outtakes, Write a Book in a Month: More Writers Share Their Experience & Advice.)

Once all that inspiration has you writing up a frenzy, we wanted to make sure you have some roadside assistance ready to help when you start to run out of gas—and that’s where Elizabeth Sims’ “21 Fast Hacks to Fuel Your Story With Suspense” comes in.

Your book idea might be in its infancy now, but take it from me—with some extra attention on your part, soon it can be surprising and delighting you with its strength, determination and newfound ability to stand on its own two feet, grinning from ear to ear.

Conquer Your Word Count Goals

Are you planning to participate in this year’s NaNoWriMo? Looking to up your daily word counts just a bit in solidarity with those who are? We’d love to hear about your writing goals–leave a comment below to keep the conversation going!

Get your copy of the Write a Book in a Month! issue on your favorite newsstand, or download the November/December 2014 Writer’s Digest right now.

Happy Writing,
Jessica Strawser
Editor, Writer’s Digest Magazine
Follow me on Twitter @jessicastrawser.

In each issue of Writer’s Digest magazine, we ask one reader to step into the role of the unconvinced, perhaps even curmudgeonly or fool-hearted editor. What harsh rejection letters might the authors of some of our favorite hit books have had to endure? We need more of those short-sighted rejection letters!

If you’d like to be the one doing the rebuffing, channel the most clueless of editors by humorously rejecting a hit in 300 words or fewer. Then submit your letter via email (no attachments, please!) to [email protected] with Reject a Hit: [Book Title]” in the subject line.

Reject a Hit is humorous, but not mean-spirited. It is not the place to list all the reasons you hate a particular book. To help you understand the spirit of Reject a Hit, here are some excerpts from spoof rejections we’ve published in the past:

To Margaret Wise Brown regarding Goodnight Moon:

Parents will not like this idea of mush sitting out all night. No wonder a young mouse is running around. By mentioning air you are not lulling children to sleep—just the opposite. Soon they’ll be sitting up in bed and asking, “Is that what’s making the noise? Does it taste like mush? Is that what’s keeping the balloon up?” Parents do not want to answer questions at bedtime.They want their children to quickly fall asleep so they can finally read their own books.

To Washington Irving regarding “Rip Van Winkle”:

We received your short story “Rip Van Winkle.” What a snoozer. A man walks into a forest and falls asleep for 20 YEARS? I’m dozing off just rejecting you.

To George Orwell regarding Animal Farm:

[Y]our work depicts episodes of hen slaughter, horses turned to glue, as well as pigs not only imbibing alcohol, but actually cultivating their own microbrewery? And would you care to explain how a windmill is built by a community composed of claws, wings and hooves? Not one opposable thumb in the bunch. For God’s sake, man!

To Homer regarding The Illiad:

The loose poetic style you have chosen is ancient and outdated. To make a sale, try a rhyming verse. While it’s difficult, some poetry editor out there may be impressed that someone could rhyme Herakles and Agamemnon.

We even convinced Ransom Riggs, author of the bestselling Peculiar Children series, to try his hand at rejecting a hit. He chose the Lord of the Rings trilogy:

It’s so long. It’s in Elvish, whatever that is. Nothing like this has ever been published. And who’s going to be interested in these tiny little hairy, ape-footed beings? This is the time for serious literature, sir, not made-up fairly tales. You take yourself very seriously.

And finally, to further help you decide which hit you’d like to wittily dismantle, here is a mostly-complete list of titles we’ve already sent back to their authors for revision. Please do not send submissions pertaining to any of the following, as they have already been soundly rejected:

Dracula by Bram Stoker

Harry Potter by JK Rowling

Frankenstein by Mary Shelley

The Elements of Style by EB White

The Cat in the Hat by Dr. Seuss

Fun With Dick & Jane by Gray and Sharp

Marley & Me by John Grogan

A Christmas Carol by Charles Dickens

The Very Hungry Caterpillar by Eric Carle

Romeo & Juliet by Shakespeare

Lolita by Vladimir Nabokov

Crime & Punishment by Dostoyevsky

Jurassic Park by Michael Crichton

Moby-Dick by Herman Melville

The Odyssey by Homer

Charlotte’s Web by EB White

Breakfast at Tiffany’s by Truman Capote

The Godfather by Mario Puzo

War & Peace by Leo Tolstoy

How the Grinch Stole Christmas by Dr. Seuss

Charlie & the Chocolate Factory by Roald Dahl

“Rip Van Winkle” by Washington Irving

Great Expectations by Charles Dickens

My Life at The New York Times by Jayson Blair

The Exorcist by William Peter Blatty

The Lorax by Dr. Seuss

Animal Farm by George Orwell

The Hobbit by J.R.R. Tolkien

The Road by Cormac McCarthy

The Old Man & The Sea by Ernest Hemingway

Goodnight Moon by Margaret Wise Brown

Tulips & Chimneys by e. e. cummings

The Shining by Stephen King

The Hitchhiker’s Guide to the Galaxy by Douglas Adams

#1.#2.#3.#4.#5.#6.#7.#8.#9.#10.Alex Palmer

This piece originally ran in Writer’s Digest magazine. For more from WD, check out the latest issue

The following piece by Celia Blue Johnson is currently in the October 2013 issue of Writer’s Digest. Check out the full issue here.

Many great writers have found creative comfort while sitting at a desk. (Charles Dickens was so attached to his that he had its contents shipped to his vacation home.) But a surprising number of literary luminaries have ventured beyond the traditional perch to create their ideal writing spots, whether that meant stepping into a bathtub or trekking into the wilderness. Here are 13 of the most memorable.

• Every weekday, Wallace Stevens walked 2.5 miles to the offices of the Hartford Accident and Indemnity Co., where he served as vice president. Between his doorstep and the office door, Stevens composed poetry. He observed, “I write best when I can concentrate, and do that best while walking.”

• A 90-minute commute is a painfully tedious necessity for many people, but for John le Carré it was an uninterrupted opportunity to write. As an MI5 officer, le Carré spent his long train rides from Buckinghamshire to London penning his debut novel, Call for the Dead. Le Carré quipped, “The line has since been electrified, which is a great loss to literature.”

• Sir Walter Scott crafted “Marmion,” his bestselling epic poem, on horseback, in the undulating hills near Edinburgh, Scotland. Though one might assume a leisurely pace is necessary for creative concentration atop a horse, Scott preferred to contemplate the lines of the poem at a faster clip. “I had many a grand gallop among these braes when I was thinking of ‘Marmion’,” he recalled.

• Gertrude Stein discovered that the driver’s seat of her Model T Ford was a perfect place to write. Shopping expeditions around Paris were particularly productive for the writer. While her partner, Alice B. Toklas, ran errands, Stein would stay in their parked car and write.

• D.H. Lawrence preferred to write outdoors, beneath the shade of a tree. He found a trunk to lean against wherever he went, from pine trees in New Mexico to great firs in Germany’s Black Forest. Discussing his predilection, Lawrence noted, “The trees are like living company.”

• In 1917, Virginia Woolf and her husband, Leonard, started a small publishing company in their basement. Despite the new venture, Woolf did not give up writing. Every morning she walked down to the basement, and strode past the printing press and into a storage room with a cozy old armchair. Her pen would fly while the press whirred in the next room.

• Agatha Christie had two important demands for the renovation of her mansion. She informed her architect, “I want a big bath, and I need a ledge because I like to eat apples.” Christie constructed her plots in a large Victorian tub, one bite at a time.

• Instead of hopping in an actual tub, every morning Benjamin Franklin took what he called “tonic baths” in the open air of his bedroom—he’d shed his clothes and work naked, for up to an hour.

• Edith Wharton spent her mornings in bed, but she wasn’t dozing. She’d sit up and work, still nestled beneath the covers, with an inkpot by one arm and a little dog snuggled near the other. Wharton let each page flutter to the ground, and the pile was later retrieved by a maid for the secretary to type.

• Marcel Proust spent his nights writing in bed. However, the busy Parisian street outside his apartment window began to take its toll on his nocturnal routine: Noise drifted up to his room while he was trying to sleep during the day. Proust’s solution was to line the walls with cork, and it worked.

• James Joyce, for several years, wrote in bed at night while lying on his stomach. He used a blue pencil and wore a white coat. According to Joyce’s sister, the coat “gave a kind of white light,” which helped the author, whose sight was failing, see the writing on the page.

• Maya Angelou writes in the isolation of a hotel room. To ensure there are no distractions, she requests that everything be removed from the walls. Her own essential tools, which she brings into the bare room, include yellow pads, a dictionary, a thesaurus and a Bible. She used to also bring sherry and an ashtray.

• Dame Edith Sitwell had a ritual of lying down before she set pen to paper. Rather than reclining on a bed or a couch, though, she chose to climb into an open coffin. In those morbidly tight quarters, the eccentric poet found inspiration for her work.

—Celia Blue Johnson is the creative director of Slice, a Brooklyn-based nonprofit literary magazine. She is the author of several books, most recently, Odd Type Writers: From Joyce and Dickens to Wharton and Welty, the Obsessive Habits and Quirky Techniques of Great Authors.

Successfully starting and finishing a publishable novel can be like fighting a series of battles—against the page, against one’s own self-doubt, against rebellious characters, etc. Featuring timeless, innovative, and concise writing strategies and focused exercises, this book is the ultimate battle plan and more—it’s Sun Tzu’s The Art of War for novelists.

In only a few weeks, our staff will be venturing west for the Writer’s Digest Conference in Los Angeles, set for Oct. 19-21.

On tap this year, writers can expect keynotes by Aimee Bender and Steven James, sessions taught by authors Elizabeth Sims, James Scott Bell, Rob Eagar, Nina Amir and many others, workshops on everything from crafting characters to agents and marketing, and, of course, our signature speed-dating style pitch slam loaded with agents.

If you’re going (or if you’re planning to attend another conference any time soon), here’s some valuable advice from an article the brilliant Elizabeth Sims wrote for us. (If you see her at the Writer’s Digest Conference West, I highly recommend offering to tap her wisdoms over a martini. She’s good people. And wise people, if you’ll forgive my already broken colloquialisms.)

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HOW TO MAKE THE MOST OF ANY CONFERENCE

1. Arrive early to scope out everything, get settled and make friends. It’s incredibly bracing to have someone you can eat with or wave to as you enter a room.

2. Be on the lookout for faculty hanging around during downtime. Strike up a conversation, not about yourself and your work, but about them, because you’re here to learn. Try questions like, “If you were just starting out today, what would you be writing?” or, “What’s the best attribute an author can have?”

3. Carry a full-sized notebook for the full-sized ideas you’re going to write—not a tiny one for tiny ideas.

4. Focus sharply on what you want. Make a mission statement: “At this conference I intend to learn how to write better suspense / organize my nonfiction project / figure out an ending to my novel.”

5. If you’ve submitted work for critique, be open and receptive. Never argue or try to justify anything. Ask for more explanation, but don’t take notes—it’ll only distract you. As soon as it’s over, write full notes.

6. Make up your mind you won’t be judgmental, easily offended or needy. Remember, it’s not about you—it’s about your writing.

Bonus tips:

• Take nothing for granted. Speak up and ask lots of questions.
• Cut your losses and leave a session that’s not right for you. Step in late to another one where you might learn something truly useful. If that fails, find a sunny spot outside, open your notebook, and do some writing until lunch. Any writing.
• Writing is the only thing that matters. Do it.
• Agents might be only human (as they continually insist they are), but they can also be as callous as dingoes, so cast a wide net when searching for a good one.
• In spite of everything going against us, writers are as doggedly hopeful as orphans on Parents’ Day. This, I think, should be celebrated.
• Fight smugness and spitefulness for all you’re worth.
• Worship ye not heroes.
• Figure out how much whiskey you think you’ll need, then pack double that amount.

Zachary Petit is an award-winning journalist, the managing editor of Writer’s Digest magazine, and the co-author of A Year of Writing Prompts: 366 Story Ideas for Honing Your Craft and Eliminating Writer’s Block.

Like what you read from WD online? Check us out in print, or check out our digital subscription. Also, do you have a question for a writing pro? We’re starting a new advice column, and nothing is off limits. Click here for more details and the scoop on how to submit your question.

Have you ever wished you could get advice on your writing life, your pursuit of publication, and everything in between, from an expert source would tell it to you straight, with good humor and grace?

So have we! That’s why we’re excited to announce WD’s new advice column, “Funny You Should Ask,” in which popular literary agent Barbara Poelle—known for her knack for spotting debut talent at Irene Goodman Literary Agency as well as for her approachable, refreshingly honest and sometimes irreverent style of instructing writers—will begin tackling your toughest problems and offering up her best advice for writers in the pages of Writer’s Digest magazine.

Some of you might recognize Barbara Poelle’s name from our October issue (on newsstands now), in which she courageously fielded tough questions (and I do mean tough, e.g., “Where do agents get off with a no-response-means-no submissions policy?” “Do you secretly hate in-person pitches?”) in our “Ask an Agent Anything!” feature. Her responses were equal parts informative and entertaining, and the positive feedback from our readers has been overwhelming. On Twitter, Poelle’s clients applauded the piece, saying that even they had learned a lot from it. One woman went so far as to write to us and say, “Bravo! Give this woman a column!”

Well, we were one step ahead of her, and already in talks with Poelle. I’ve known Barbara for years and find her to be one of the best in the business–and one of the most fun, too. So I’m just thrilled beyond words that she has agreed to come on board and answer questions from our readers. I have no doubt that her column is going to be a fan favorite.

But first, she needs to hear from you! No question is off limits, as long as it’s relevant to some aspect of the writing life or the publishing world. Submit your questions (anonymous aliases welcome, a la “Sleepless in Seattle”) to writersdigest [at] fwmedia [dot] com with “Funny You Should Ask” in the subject line. Select questions will be answered in Writer’s Digest magazine (and may also appear on writersdigest.com or in other WD publications).

Jessica Strawser
Editor, Writer’s Digest Magazine

Image via Ammede Mol

Today is Stephen King’s 65th birthday. To honor the man who is perhaps the most well-known living writer, here’s a linkfest of all things King. Don’t forget to have an It cupcake or two today.

Stephen King’s Best Quotes: 13 of the author’s classic quips on the craft of writing.

An Interview With King: Did you know that King and Left Behind author Jerry B. Jenkins are pals? When we found out, we had to get them together for a conversation on writing and life.

Videos of the King: The author has a knack for often playing eccentric, hilarious characters in adaptations of his work (not to mention in TV shows, such as Frasier). Check out his best and worst cameos.

How to Write Like Stephen King: Here are a few tips on how to create suspense like the master.

King on Guitar! Behold, a performance by the Rock Bottom Remainders, the author supergroup that featured Dave Barry, Amy Tan, Ridley Pearson, Mitch Albom, and many others.

Also, brief editorial note: I originally intended to have an actual It cake at the top of this blog post, but was too creeped out to post it in good conscience. It is here if you want to lose some sleep tonight. 

Zachary Petit is an award-winning journalist, the managing editor of Writer’s Digest magazine, and the co-author of A Year of Writing Prompts: 366 Story Ideas for Honing Your Craft and Eliminating Writer’s Block.

Like what you read from WD online? Check us out in print, or check out our digital subscription.

For some writers, a day job is a means to an end—and something they dream of one day quitting to pursue a dream of writing full time. (So much so that here at WD, we get the “When do you think I should quit?” question from our readers all the time. If this is something you’ve been pondering, I recommend this oldie-but-goodie WD article from career nonfiction writer Jeff Yeager: “10 Questions Writers Must Ask Before Quitting Their Day Job.”)

But for other writers, a day job can actually fuel a writing career, whether that’s by developing skills that are helpful to the business of writing (marketing, for instance), by developing subject matter expertise that comes in handy in their work (I’ve noticed this is especially helpful for writers in the legal or medical professions), or by simply providing plenty of fodder for lifelike characters and plotlines (the creators of “The Office” and Office Space certainly thought so).

I recently had the amazing opportunity to interview Patricia Cornwell for the October issue of Writer’s Digest, and we discussed how her path to becoming the world’s No. 1 bestselling crime writer began with, you guessed it, a day job—in a morgue that inspired her iconic series protagonist, medical examiner Dr. Kay Scarpetta. In our conversation, she offered up this advice for writers struggling to get a break:

I would say that if you’ve had repeated failures, for God’s sake get a job, do something to keep bread on the table. I worked in the morgue for six years, because I had so many failures. And if there really is a Scarpetta out there watching over me, she knew I needed to do that to be qualified to write about her. She says, “I hate to do this to you, but I’m going to whack you in the leg so you can’t go anywhere, because you don’t have a clue, girl. You need to be down here every day going to the labs, going to the morgue, going to crime scenes, riding with the detectives, going to court. And then, maybe, you can begin to have a concept of what it’s like to be me, and then I’ll let you tell my story.” And she still does that to me.

(To read our full interview with the smart, insightful and encouraging Cornwell, you can find the October Writer’s Digest online and on newsstands everywhere now, or download it instantly right here.)

Last week’s Labor Day holiday here in the U.S. inspired Open Road Media to put together a video featuring successful authors discussing the day jobs they’ve worked in the course of getting where they are today—and it’s an inspiring montage worth watching any day of the year. I especially enjoyed novelist David Corbett—a contributor to Writer’s Digest (check out his creative writing exercises in “25 Ways to Improve Your Writing in 30 Minutes a Day”)—discussing his time as a private investigator (which put me in mind of HBO’s “Bored to Death”—maybe truth really is stranger than fiction!). Take a look:

Have your day jobs have led to better writing? Do you daydream about quitting your own, or switching to a new career? Would you really rather write full time? Leave a comment and share your thoughts below—we’d love to continue the discussion.

Jessica Strawser
Editor, Writer’s Digest Magazine

Follow me on Twitter: @jessicastrawser

Like what you read from WD online? Subscribe today, so you’ll never miss an issue in print!

Erik Larson Photo © Benjamin Benschneider

This week, I finished Erik Larson’s latest narrative nonfiction, In the Garden of Beasts, which is still dominating The New York Times bestseller list. Excellent read.

A few years back, I got in touch with Larson (who also wrote the spectacular Devil in the White City) to see if he would like to contribute a list on the writing life for a feature we were putting together. After finishing Beasts, I went on a hunt for the piece and realized it’s not online—so I’ve dug it up to share with anyone who might have missed it. I maintain that his tenth point is still one of my favorite things we’ve printed in the last few years.

Happy Friday.

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Erik Larson: Top 10 Essentials to a Writer’s Life

1. Good Coffee: Every writer has a ritual that begins the day. It’s like turning a key to start your car. For me, the key that starts the day is a good cup of coffee, preferably Peet’s Coffee.

2. More Coffee: Alas, I drink as many as five cups a day. And then switch to tea. My teeth are the color of plum-tree leaves.

3. Oreo Cookies: I mean, look, if you have a cup of good coffee, you need an Oreo. Some mornings—the tough ones—I define as two-Oreo days. Double Stuf preferred.

4. A Sense of Pace: Many writers make the mistake of engaging in what I call “binge writing.” They write for 10 hours straight, riding the perfect wave of inspiration. The problem is, you still need to wake up the next day and do it again. Best is to pace yourself. Write for three hours straight, without interruption, then stop.

5. Knowing Where to Stop: My favorite “trick” is to stop writing at a point where I know that I can pick up easily the next day. I’ll stop in mid-paragraph, often in mid-sentence. It makes getting out of bed so much easier, because I know that all I’ll have to do to be productive is complete the sentence. And by then I’ll be seated at my desk, coffee and Oreo cookie at hand, the morning’s inertia overcome. There’s an added advantage: The human brain hates incomplete sentences. All night my mind will have secretly worked on the passage and likely mapped out the remainder of the page, even the chapter, while simultaneously sending me on a dinner date with Cate Blanchett.

6. Blocks of Undisturbed Time: I set aside a minimum of three hours every morning, seven days a week, during which no one is allowed to intrude except to report an approaching cruise missile.

7. Physical Diversion: When I stop writing, I need an escape—something that takes me out of the work and wholly into another realm. My main diversion is tennis, though I also find cooking to be very helpful. Something about chopping onions is very restorative. Dogs are helpful, too. They force you to go outside and confront the weather, although my dog did once eat a 19th-century edition of a British physicist’s autobiography.

8. A Good Library: For all writers, but especially those of us who write  nonfiction, a good library with open stacks is crucial.

9. A Trusted Reader: Every writer I know has at least one friend or partner who can be trusted to read early drafts of a book and provide an accurate, constructive critique. My secret weapon is my wife, who annotates the margins of my drafts with crying faces, smiles and long receding lines of zzzzzzzzzzzs.

10. A Fireplace: One of the most important

Helen Gurley Brown, author and longtime editor of Cosmopolitan, died at age 90 yesterday. Her bestselling nonfiction book, Sex and the Single Girl, which took her career to the next level in 1962, was eventually adopted for the big screen in 1964; it starred Natalie Wood, Tony Curtis, Lauren Bacall and Henry Fonda. Brown went on to become editor of Cosmo in 1965, breathing life into the magazine with her outspoken advocacy of women’s sexual freedom.

Here are a few of Brown’s quips from an interview we conducted in 1966, in which she detailed her revitalization of Cosmopolitan:

“We’re not an intellectual’s magazine, but I don’t want to scare off the intellectual writer. I’m terribly keen for good writing.”

“There are too many women in the country for the number of men around. So we show women how to find men. We don’t treat men as a commodity.”

“Management goes up in flames when we are compared to Playboy magazine. We’re not a female Playboy, but I want to do stuff about my people, just as Playboy does about theirs. We edit for our readers. If it isn’t for a Cosmo girl, it doesn’t get in the book.”

Brown celebrating Cosmo with a champagne toast. Click for larger image.

Thanks to everyone who commented on my post about ways to Make Your Writing Time Matter. Sure, finding time to write (and to write well) can be a frustrating struggle, but it’s encouraging to know that we all face these challenges—and that as part of a generous community of writers willing to share our best tips and tricks, we really are all in this together.

The randomly chosen winner of our free issue giveaway is: georgekmarcs. George, please fire off a quick email to us at writersdigest [at] fwmedia [dot] com with your full name and mailing address, and we’ll get your copy of the September 2012 issue of Writer’s Digest out to you right away!

The latest WD magazine is filled with ideas for innovative ways to Make the Most of Your Writing Time—so if you haven’t seen it yet, be sure to check it out on your favorite newsstand, in the Writer’s Digest Shop, or available for instant download right here, right now.

Jessica Strawser
Editor, Writer’s Digest Magazine

Follow me on Twitter: @jessicastrawser

Like what you read from WD online? Subscribe today, so you’ll never miss an issue in print!

The legendary Gore Vidal died yesterday at age 86.

Here, we remember him with some stirring quotes from an interview we printed in 1975, showcasing him at his most “prolific, elegant and acerbic” (as The New York Times aptly described him earlier today).

Rest in peace, Gore.

*

“You can improve your talent, but your talent is a given, a mysterious constant. You must make it the best of its kind.”

“I’ve always said, ‘I have nothing to say, only to add.’ And it’s with each addition that the writing gets done. The first draft of anything is really just a track.”

“The reason my early books are so bad is because I never had the time or the money to afford constant revisions.”

“That famous writer’s block is a myth as far as I’m concerned. I think bad writers must have a great difficulty writing. They don’t want to do it. They have become writers out of reasons of ambition. It must be a great strain to them to make marks on a page when they really have nothing much to say, and don’t enjoy doing it. I’m not so sure what I have to say but I certainly enjoy making sentences.”

“Constant work, constant writing and constant revision. The real writer learns nothing from life. He is more like an oyster or a sponge. What he takes in he takes in normally the way any person takes in experience. But it is what is done with it in his mind, if he is a real writer, that makes his art.”

“I’ll tell you exactly what I would do if I were 20 and wanted to be a good writer. I would study maintenance, preferably plumbing. … So that I could command my own hours and make a good living on my own time.”

“If a writer has any sense of what journalism is all about he does not get into the minds of the characters he is writing about. That is something, shall we say, Capote-esque—who thought he had discovered a new art form but, as I pointed out, all he had discovered was lying.”

“A book exists on many different levels. Half the work of a book is done by the reader—the more he can bring to it the better the book will be for him, the better it will be in its own terms.”

[When asked which genre he enjoys the most, and which genre comes easiest:]
“Are you happier eating a potato than a bowl of rice? I don’t know. It’s all the same. … Writing is writing. Writing is order in sentences and order in sentences is always the same in that it is always different, which is why it is so interesting to do it. I never get bored with writing sentences, and you never master it and it is always a surprise—you never know what’s going to come next.”

[When asked how he would like to be remembered:]
“I suppose as the person who wrote the best sentences in his time.”

—All quotes from “The Complete Works on Gore Vidal” by Russell Halley, Joseph Pilcher and Michael S. Lasky, Writer’s Digest, March 1975

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Zachary Petit is an award-winning journalist, the managing editor of Writer’s Digest magazine, and the co-author of A Year of Writing Prompts: 366 Story Ideas for Honing Your Craft and Eliminating Writer’s Block.

Like what you read from WD online? Check us out in print—click here for our low subscription rat