I think writers can get too attached to these worlds they create, these characters they make real, so that, instead of ending the story where the story's asking to end, they draw it out, unable to let go.

The stories I respect most aren't those with the rich, dense prose, but those which achieve a rich, deep effect with simple little nothing-sentences, lines I won't possibly remember, because they simply functioned, didn't draw attention to themselves, were properly humble.

When I am writing a novel, though, then it's usually three or four hours a day. Ideally, right after lunch until three or four, but sometimes picking up again around ten, going until a touch after midnight. I rarely write in the morning, unless I'm on deadline. I do like rewriting in the morning, though. Guess it's the way my brain's put together. Or, the way it's falling apart.

I do love the challenge of screenplays. They're so difficult, such an alien form. It makes them endlessly fascinating. Something I can't keep my fingers out of.

I think writers can get too attached to these worlds they create, these characters they make real, so that, instead of ending the story where the story's asking to end, they draw it out, unable to let go.

Life's so much easier when you're not always maintaining two worlds: the one formed of lies, which feels real, and the one you live in, which often feels like lies. So easy to get them confused.

There's no really other way to learn writing than by writing. So accelerate that as much as you can. The more you write, the better you'll get. What also helps, though, is walking away from broken stuff. Not everything's going to work. Killing two years of your life trying to resuscitate a dying novel, I don't know. Why not just write a different one? You'll have more ideas. You can't help having ideas.