Try any goddam thing you like, no matter how boringly normal or outrageous. If it works, fine. If it doesn't, toss it. Toss it even if you love it.
Stephen KingRead
When your story is ready for rewrite, cut it to the bone. Get rid of every ounce of excess fat. This is going to hurt; revising a story down to the bare essentials is always a little like murdering children, but it must be done.
Interpretation
This quote emphasizes the importance of editing and revision in the writing process, akin to the painful necessity of letting go of unnecessary elements.
Stephen King's quote highlights the often painful but essential process of revising a piece of writing. He likens the act of cutting down superfluous content to a difficult personal loss, suggesting that effective storytelling requires distilling one's narrative to its most vital components, even when it feels devastating to do so.
In practice
In a writing workshop, to emphasize the need for concise storytelling, one might quote Stephen King.
Try any goddam thing you like, no matter how boringly normal or outrageous. If it works, fine. If it doesn't, toss it. Toss it even if you love it.
Eddie discovered one of his childhood's great truths. Grownups are the real monsters, he thought.
Hairstyles change, and skirt lengths, and slang, but high school administrations? Never.
Description begins in the writer’s imagination, but should finish in the reader’s.
That's the day's business. Thinking. Thinking and isolation, because it doesn't matter if you pass the time of day with someone or not; in the end, you're alone. He seemed to have put in as many miles in his brain as he had with his feet. The thoughts kept coming and there was no way to deny them.
Late last night and the night before, tommyknockers, tommyknockers knocking on my door. I wanna go out, don't know if I can 'cuz I'm so afraid of the tommyknocker man.
Making money is art and working is art and good business is the best art.
Every artist, every scientist, every writer must decide now where he stands. The artist must take sides. He must elect to fight for freedom or for slavery. I have made my choice. I had no alternative.
People often called us perfectionists, but we were not looking for perfection. We were looking for some kind of magic in the music.
The thing a drama school can't give you is instinct. It can sharpen instinct but that can't be taught, and you have to have intuition. It's an essential ingredient.
I had to say to myself, 'I haven't written enough about blackness, yet it's part of my consciousness and my lived experience.' I had to get over that anxiety of 'I haven't done this before.'
The Singaporean speculative tradition is different. Singapore doesn't conceive itself as the centre of the world or the one country that's going to save the world, so there's a different tone that comes out in the way speculative fiction is done. That's refreshing to read.
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