{"id":596,"date":"2018-01-04T09:13:29","date_gmt":"2018-01-04T09:13:29","guid":{"rendered":"https:\/\/www.writingroutines.com\/?p=596"},"modified":"2018-01-05T19:05:21","modified_gmt":"2018-01-05T19:05:21","slug":"27-writing-lessons-hacks-best-writers-planet","status":"publish","type":"post","link":"https:\/\/www.writingroutines.com\/27-writing-lessons-hacks-best-writers-planet\/","title":{"rendered":"27 Writing Lessons & Hacks From Some of the Best Writers on the Planet"},"content":{"rendered":"

The amount of bad writing advice out there is astounding. People who have never published anything selling courses on how to make a career as a writer. Terribly written Medium articles telling you how to improve your prose. Marketing books from writers who not only haven\u2019t sold many books\u2014but their own marketing books don\u2019t sell. All this bad advice adds up and makes a harder thing\u2014an already difficult industry to navigate\u2014even harder. <\/span><\/p>\n

Over the last year, I\u2019ve been lucky enough to interview some of the best writers on the planet for Writing Routines<\/a>. It has been the opportunity of a lifetime to be able to ask Pulitzer Prize winners, #1 New York Times<\/i> best-selling authors, brilliant novelists, talented journalists and expert communicators about how they practice their craft. I got valuable lessons from each one. I\u2019ve collected a few of the best below, alongside some of the insights\u2014or hacks as we call them today to get more people to click\u2014from writers I wish were still alive to interview or ones I wish to interview someday if the opportunity presents itself.<\/p>\n

I hope you learn as much from them as I did. Enjoy!<\/p>\n

***<\/p>\n

Devote Yourself to Someone Greater First<\/b><\/p>\n

\u201cIf I am asked today to advise a young writer who has not yet made up his mind what way to go, I would try to persuade him to devote himself first to the work of someone greater, interpreting or translating him. If you are a beginner there is more security in such self-sacrifice than in your own creativity and nothing you ever do with all your heart is done in vain.\u201d<\/p>\n

\u2014 Stefan Zweig,<\/b> author of The World of Yesterday<\/i><\/a> and in the 1920\u2019s and 1930\u2019s was one of the most popular authors in the world<\/p>\n

Wake Up Early And Read, Read, Read<\/b><\/p>\n

\u201cI wake up around 5am. I have 2-3 cups of coffee. I read and read and read for two hours. I read high quality literary fiction to be inspired, high quality non-fiction about a topic I am fascinated by in order to learn, I read inspirational or spiritual writing to feel that special something inside, and often I will spend some \u00a0time studying a game. Then I might read the literary fiction some more. At some point, I get the urge or the itch to put the books away. I go to my computer and start to write.\u201d<\/p>\n

\u2014 \u00a0James Altucher<\/b><\/a>, author of Choose Yourself!<\/i><\/a>, which the USA Today<\/i>\u2019s called one of \u201cBest Business Books of All Time.\u201d<\/p>\n

Do Not Chase Exotic Locations to Write <\/b><\/p>\n

\u201cIt was a time everyone was pressing wonderful houses on us. \u2018I have a perfectly marvellous house for you to write in,\u2019 they\u2019d say. Of course no one needs marvellous houses to write in. I still knew that much. All you needed was one room. But somehow the next house always beckoned.\u201d<\/p>\n

\u2014 Budd Schulberg<\/b>, author of What Makes Sammy Run?<\/i><\/a> and the Academy Award-winning screenplay for On the Waterfront<\/i><\/p>\n

Edit Ten Times <\/b><\/p>\n

\u201cI repeatedly edit it many times, at least ten. I just keep on doing it, until I can\u2019t think of further improvements. I can\u2019t say that is a process in any formal sense, simply a recognition that the \u201cprocess\u201d to date hasn\u2019t worked very well and so it must continue. I don\u2019t pretend this is efficient.\u201d<\/p>\n

\u2014 Tyler Cowen<\/b><\/a>, economics professor, author of Average Is Over<\/i><\/a> and contributor to the New York Times, Wall Street Journal, Newsweek <\/i>and many other publications<\/p>\n

Nobody Gets Talker\u2019s Block<\/b><\/p>\n

\u201cNo one ever gets talker\u2019s block. No one wakes up in the morning, discovers he has nothing to say and sits quietly, for days or weeks, until the muse hits, until the moment is right, until all the craziness in his life has died down.\u201d<\/p>\n

\u2014 Seth Godin<\/b>, New York Times <\/i>bestselling author of Purple Cow<\/i><\/a> and more than 20 other books \u00a0<\/i><\/p>\n

Do the Three Passes of Editing<\/b><\/p>\n

\u201c[My editing] rests on three passes. The first pass is when you write the best chapter you can. The second pass comes later once the whole book (or whole part of the book containing the chapter) is done. During this pass, I come back to the chapter on my computer and cut and tighten. The final pass is when I read through a printed version of the chapter on paper. Reading on paper is necessary if you\u2019re going to root out odd constructions or minor errors.\u201d<\/p>\n

\u2014 Cal Newport<\/b><\/a>, author of the Wall Street Journal<\/i> bestseller Deep Work<\/i><\/a><\/p>\n

The Only Way Out is Through <\/b><\/p>\n

\u201cThe way out of this mess is through. A friend of mine who used to do long-distance running gave me some advice on dealing with pain as a writer. \u201cWhat do you do about the cramps?\u201d I asked. I was noticing they hit my in the gut usually at the three or four mile mark. I thought he\u2019d have some great advice on how to avoid them altogether. In fact, I assumed this was the case. His answer surprised me, though. \u2018Cramps? What do I do? I keep running, and eventually they go away. I run through the cramps.\u2019 What do I do when I feel blocked? I write through the block.\u201d<\/p>\n

\u2014 Jeff Goins<\/b><\/a>, author of the Wall Street Journal <\/i>bestseller Real Artists Don\u2019t Starve<\/i><\/a><\/p>\n

Sometimes You Just Need Some Good Earmuffs<\/b><\/p>\n

\u201cI\u2019m an \u201cabsolute quiet\u201d kind of person. If I\u2019m writing at home, and there\u2019s any noise at all, such as my wonderful hubby puttering around and coincidentally clearing his throat, I wear my Peltor Sport Ultimate 10 Hearing Protector Earmuffs<\/a>. I\u2019m so used to them that when I need to concentrate, I put them on even when there isn\u2019t any noise. Earmuffs are like a signal to my brain\u2014Okay, focus! On planes, I often wear noise canceling headphones.\u201d<\/p>\n

\u2014 Dr. Barbara Oakley<\/b><\/a>, bestselling author of A Mind for Numbers<\/i><\/a> and former Army Captain<\/p>\n

Be So Good They Can\u2019t Ignore You<\/b><\/p>\n

\u201cWhat they want to hear is, \u2018Here\u2019s how you get an agent, here\u2019s how you write a script\u2019\u2026but I always say, \u2018Be so good they can\u2019t ignore you.\u2019\u201d<\/p>\n

\u2014 Steve Martin<\/b>, author of Born Standing Up: A Comic\u2019s Life<\/i><\/a> and award-winning actor and banjo player<\/p>\n

Keep the Best in Mind <\/b><\/p>\n

\u201cIt really depends on the genre of work I\u2019m doing\u2013I always try to keep models in mind, though the model will change depending on what I\u2019m working on. For the book on Cato the Younger<\/a>, Jimmy Soni and I were constantly referring to Tom Holland\u2019s book on the Roman Republic, Rubicon<\/i>; for our book on Claude Shannon<\/a>, to James Gleick\u2019s The Information<\/i><\/a> and Sylvia Nasar\u2019s A Beautiful Mind<\/i><\/a>.<\/i> For my academic work, people like Danielle Allen are great models.\u201d<\/p>\n

\u2014 Rob Goodman<\/b><\/a>, congressional speechwriter and co-author of A Mind at Play <\/i><\/a>and Rome\u2019s Last Citizen: The Life and Legacy of Cato, Mortal Enemy of Caesar<\/i><\/a><\/p>\n

Quit Your Bitching<\/b><\/p>\n

\u201cDon\u2019t lament so much about how your career is going to turn out. You don\u2019t have a career. You have a life. Do the work. Keep the faith. Be true blue. You are a writer because you write. Keep writing and quit your bitching. Your book has a birthday. You don\u2019t know what it is yet.\u201d<\/p>\n

\u2015 Cheryl Strayed<\/b>, author of the number #1 New York Times<\/i> bestseller Wild<\/i><\/a> and Tiny Beautiful Things<\/i><\/a><\/p>\n

Fix The Important Things<\/b><\/p>\n

\u201cWriter\u2019s block is miserable and part of it can be just being in a really bad place. Sometimes if you\u2019re just in a bad mental place, it doesn\u2019t matter what work you put in. You have to fix bigger things than your writing.\u201d<\/p>\n

\u2014 Hari Kondabolu<\/b><\/a>, the comic who the New York Times<\/i> called \u201cone of the most necessary political comedians working today.\u201d<\/p>\n

Get a Giant Sketchpad<\/b><\/p>\n

\u201cNotebooks have always been big for me, both in the early stages of a new project and as a way to get myself unstuck if I\u2019m struggling. But I have giant, chicken-scratch handwriting, and would always end up jotting down thoughts over half a dozen pages and then never really looking at them again. I have probably fifty illegible notebooks sitting in desk drawers, and I would easily have filled fifty more had I not been introduced to the most elegant solution by a friend, the author Ashley Cardiff: A sketchpad. A 9-by-12-inch artist\u2019s sketchpad. This has been my great revelation. It\u2019s unlined so I can read my bad handwriting and large enough that I can group several ideas together on the same page. Plus, it gives me an excuse to buy fancy mechanical pencils.\u201d<\/p>\n

\u2014 Liana Maeby<\/b><\/a>, author of South on Highland<\/i><\/a>, which actor\/writer BJ Novak called \u201cthe kind of book kids will steal from each other.\u201d<\/p>\n

It\u2019s All Material<\/b><\/p>\n

\u201cI\u2019m never not working on material. Every second of my existence, I am thinking, \u2018Can I do something with that?\u2019\u201d [By the way, this advice echoes a phrase I\u2019ve learned from author Robert Greene<\/a>, \u201cIt\u2019s all material.\u201d Meaning everything bad that happens, everything frustrating or delayed or disappointing\u2014all of it can be fuel for a book. It can teach you something that helps you improve your business, it can become a story you pass along to a friend.]<\/p>\n

\u2014 Jerry Seinfeld, <\/b>creator of Seinfeld<\/i> and named by Comedy Central the \u201c12th Greatest Stand-up Comedian of All Time.\u201d<\/p>\n

Understand How the Pieces Fit Together<\/b><\/p>\n

\u201cTo write a clean and fluent piece of any kind, you have to understand how its various parts fit together\u2014how a change here will affect something over there. With a short piece, you never lose sight of the whole because you can read and reread it many times as you work. That\u2019s what I do. I make a change and then I read the whole piece to see how it works. But I can\u2019t do that with a book, so I have to find other ways to stay oriented. I reread or skim sections of the book that I know relate to the part I\u2019m working on, I keep notes about the larger structure, and I use Word\u2019s phrase-search function to move around and check up on things. I also make a huge effort to commit as much of the book as I can to memory. It\u2019s exhausting and it seems psychologically damaging in some way, but it helps me to understand when jokes need to be repeated, how much space needs to intervene between similar kinds of scenes, how ideas should be patterned, etc.\u201d<\/p>\n

\u2014 Aaron Thier<\/b><\/a>, author of Mr. Eternity<\/i><\/a> and recipient of a literature fellowship from the National Endowment for the Arts<\/p>\n

Run to Keep Yourself Sane<\/b><\/p>\n

\u201cThe twin activities of running and writing keep the writer reasonably sane and with the hope, however illusory and temporary, of control.\u201d [This is not unlike many other writers\u2014including Murakami and Malcolm Gladwell\u2014who use running as a coping mechanism<\/a>.]<\/p>\n

\u2014 Joyce Carol Oates<\/b>, author of over 40 novels, including Them<\/i><\/a>, <\/i>winner of the National Book Award \u00a0<\/b><\/p>\n

Before You Write, Crystallize\u00a0Your Thinking<\/b><\/p>\n

\u201cIf I\u2019m just starting, I never consider the page blank. I\u2019ve been writing in my head long before I sit down at the keyboard. In fact, I sometimes start inadvertently, by describing to someone what I\u2019m doing. Conversation often crystallizes my own thinking far more effectively than solitary reflection. When I put the first words down, I know they\u2019re likely to change, which I find liberating\u2014no need to get it perfect the first time. But I want the first sentence to set a tone or indicate a theme for that chapter, so I have to start with a clear sense of the meaning of the events that follow, and how I want the reader to feel.\u201d<\/p>\n

\u2014 Pulitzer Prize winner T.J. Stiles<\/b><\/a>, author of Custer\u2019s Trials: A Life on the Frontier of a New America<\/i><\/a><\/p>\n

Let the Play Accumulate<\/b><\/p>\n

\u201cDon\u2019t start writing the play at once, but get a little notebook and put down everything you think about your play in the notebook, just as the ideas come to you without rhyme or reason especially. Let the play accumulate, as I call it; let it percolate and stew in your mind; and write down any ideas, bits of dialogue, descriptions, words\u2014anything you think you might be able to use. Many of these things will come to you unconsciously while you are walking home from school, bathing, mowing the lawn; be sure to get them all into your notebook.\u201d<\/p>\n

\u2014 E.P. Conkle<\/b>, professor emeritus of drama whose plays have been produced on Broadway<\/p>\n

Take the Necessary Medicine<\/b><\/p>\n

\u201cI tend to edit heavily and repeatedly as I go along, so I don\u2019t make the distinction, at least by myself. For the books that I\u2019ve written for a larger public, however, I\u2019ve had the help of an immensely gifted editor (Alane Mason, at Norton), so there I do separate out the tasks: in effect my own writing\/editing; and then a further editing after receiving her suggestions. I tend to hate the latter experience, though I recognize that it is almost invariably good\u2014a bit like swallowing disagreeable but essential medicine.\u201d<\/p>\n

\u2014 Stephen Greenblatt<\/b><\/a>,<\/b> author of The Swerve<\/i><\/a>, a Pulitzer Prize and a National Book Award winner<\/p>\n

To Beat Writer\u2019s Block, Double Down on Research<\/b><\/p>\n

\u201cWhen I have writer\u2019s block it is because I have not done enough research or I have not thought hard enough about the subject about which I\u2019m writing. That\u2019s a signal for me to go back to the archives or to go back into my thoughts and think through what it is I am supposed to be doing.\u201d<\/p>\n

\u2014 MacArthur \u201cGenius\u201d and Pulitzer Prize-winning historian Annette Gordon-Reed<\/b><\/a>, author of The Hemingses of Monticello: An American Family<\/i><\/a><\/p>\n

Always Ask These Questions<\/b><\/p>\n

\u201cWhat am I trying to say? What words will express it? What image or idiom will make it clearer? Is this image fresh enough to have an effect?\u201d Then finish with these final two questions: \u2018Could I put it more shortly? Have I said anything that is avoidably ugly?\u2019\u201d<\/p>\n

\u2014 George Orwell<\/b>, famous author of 1984<\/i><\/a> and Animal Farm<\/i><\/a><\/p>\n

You Don\u2019t Need a Vomit Draft<\/b><\/p>\n

\u201cWriters are usually encouraged to write a \u201cvomit draft\u201d and just get something out, however terrible it is, in order to overcome The Fear, get some momentum, and move to more of an editing mindset, where\u2019s it\u2019s less scary to make progress. I don\u2019t do that. I think that\u2019s just a trick to try and lower the stakes so you can overcome procrastination and The Fear. And while it\u2019s good for that, I think it\u2019s bad in the long haul because you\u2019re producing a lot of junk and that\u2019s going to be hard to fully clean up. I treat writing a lot more like architecture. You wouldn\u2019t work without a blueprint, construct a crappy building, then knock it down and build a better one. That would be ridiculous. You\u2019d put together a really tight blueprint, then construct the building once, the right way, and if it needs tweaks, they\u2019re relatively small. As the old saying goes: \u2018Measure twice, cut once.\u2019\u201d<\/p>\n

\u2014 Eric Barker<\/b><\/a>, author of the Wall Street Journal <\/i>bestseller Barking Up The Wrong Tree<\/i><\/a> and creator of the popular blog<\/a> of the same name<\/p>\n

Keep the Momentum<\/b><\/p>\n

\u201cNever stop when you are stuck. You may not be able to solve the problem, but turn aside and write something else. Do not stop altogether.\u201d<\/p>\n

\u2014Jeanette Winterson<\/b>, a two-time winner of the Lambda Literary Award and author best known for Oranges Are Not the Only Fruit<\/i><\/a>, which was adapted into a BBC drama<\/p>\n

You Don\u2019t Need to be Kissed by a Muse<\/b><\/p>\n

When asked if writing comes easy: \u201cHaha, no, I\u2019ve not been kissed by a muse. For me, writing is a craft that needs constant honing.\u201d<\/p>\n

\u2014 Andrea Wulf<\/b><\/a>, author of The Invention of Nature: Alexander von Humboldt\u2019s New World<\/i><\/a>, <\/i>which won the Royal Society Science Book Award 2016 and the LA Times Book Prize 2016.<\/p>\n

Write for the Ear<\/b><\/p>\n

\u201cI\u2019ve got a theory that most writers are either frustrated musicians or painters \u2013 and which of them you are depends on whether you write for the ear or the eye. \u00a0As a former musician and former speechwriter, I definitely write for the ear. I listen to music all the time for inspiration and energy. I tend to make playlists as the sound track for writing different books. \u00a0They serve as snapshots in time. \u00a0So, I\u2019ve got one for Wingnuts \u2013 lots of The National, Drive-By-Truckers, Radiohead and Randy Newman \u2013 and one for Washington\u2019s Farewell that\u2019s more classical, jazz, the Americana series by Chris Thile, Yo-Yo Ma and Edgar Meyer and the soundtrack to Hamilton.\u201d<\/p>\n

\u2014 John Avlon<\/b><\/a>, author of Washington\u2019s Farewell<\/i><\/a> and editor-in-chief of The Daily Beast<\/i><\/p>\n

Learn How to Take Brutally Frank Criticism<\/b><\/p>\n

\u201cI try to imagine comments, questions, and criticisms that the book will generate. Then I try to rehearse the reply or answer. My friends are great critics of my writing and I always make sure they have read the drafts and galleys and been brutally frank with me about their reactions. They know I can take it.\u201d<\/p>\n

\u2014 Richard Clarke<\/b><\/a>, former Assistant Secretary of State who has served under three different Presidents in different roles and author of Warnings: Finding Cassandras To Stop Catastrophes<\/i><\/a><\/p>\n

Wake Up and Get After It<\/b><\/p>\n

\u201cI remember Salman Rushdie telling me how he gives it the first energy of the day. As soon as he gets up, he goes to his office and starts writing. He\u2019s still in his pajamas. He believes there is a \u201clittle package of creative energy that was nourished by sleep,\u201d and he doesn\u2019t want to waste it. He works for an hour or two and then goes to brush his teeth. I have a very similar approach. Only I brush my teeth before I start. I guess that\u2019s my pre-writing ritual.\u201d<\/p>\n

\u2014 Cal Fussman<\/b><\/a>, best known for the \u201cWhat I\u2019ve Learned\u201d<\/a> Esquire column<\/i> and a master interviewer who has talked to the likes of Mikhail Gorbachev, Muhammad Ali, John Wooden, Richard Branson<\/p>\n

Ready to create a writing routine of your\u00a0own?<\/h3>\n

Sign up now and receive our free guide \u201c12 Essential Writing Routines To Help You To Craft Your Own<\/span><\/a>.\u201d<\/span><\/p>\n

Learn from the routines of superstar authors\u00a0Stephen King, Gertrude Stein, John Grisham, Ernest Hemingway, Neil Gaiman, and many more.<\/em><\/p>\n

Get the free guide\u00a0here!<\/span><\/a><\/h4>\n","protected":false},"excerpt":{"rendered":"

The amount of bad writing advice out there is astounding. People who have never published anything selling courses on how to make a career as a writer. Terribly written Medium articles telling you how to improve your prose. Marketing books from writers who not only haven\u2019t sold many books\u2014but their own marketing books don\u2019t sell. […]<\/p>\n","protected":false},"author":2,"featured_media":597,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[32],"tags":[],"class_list":["post-596","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles"],"acf":[],"yoast_head":"\n27 Writing Lessons & Hacks From Some of the Best Writers on the Planet<\/title>\n<meta name=\"description\" content=\"The amount of bad writing advice out there is astounding. 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