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Writers are a basically insecure bunch. We are convinced that everything we do sucks, all the time. It's something you have to fight. The best way to make sure that your writing will never be particularly good is to use it for something besides telling the story. And I think there's a real tension between sophistication and accessibility.
--
interview with Locus Magazine, June 2008

 

Daniel Abraham

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Anyway, I was listening to Beagle answer a question on the panel, he said something along the lines of, "I'd never want to write The Last Unicorn again. It was excruciatingly hard, because I was writing a faerie tale while at the same time writing a spoof of a faerie tale."
I just sat there thunderstruck. I realized that's exactly what I had been doing for over a decade with my story. I was writing heroic fantasy, while at the same time I was satirizing heroic fantasy.
While telling his story, Kvothe makes it clear that he's not the storybook hero legends make him out to be. But at the same time, the reader sees that he's a hero nonetheless. He's just a hero of a different sort.

 

Patrick Rothfuss

 

Basically, I wish I could read the way I used to read. I did not dissect as I read. I simply became immersed in the story and let it sweep me happily along. Now I cannot help but dissect. I try not to, but I do anyway. I cannot help but see "flaws" and all the ways I think I could have done this better. I would suspect that all writers are like this, to one degree or another. Writers are the gods of their universes, and we are never at a loss to suggest how some other god might better run herhisits universe/s. At least, this is true of me. It is one reason I read so much less fiction than I did fifteen years ago. And, actually, stage magic is not a bad metaphor for this problem I now have as a reader. I am precisely like a magician watching another magician's act. I should be suckered in with the rest of the crowd. I passionately desire to have the wool pulled over my eyes. Only it very rarely happens, as I'm too busy figuring out how it's all being done and how I could improve upon it ... I just can't help but read it as a novelist. This is, from my perspective, unfortunate. I don't want to know how the trick works. I want to be amazed. I want to be convinced of the magic. But this is what I do. I spend my days gluing words together to try and fool other people. And I can't help but try to see how other writers, especially writers who have found more commercial success than have I, make it work. Sadly, I don't even find the mechanics & theory of fiction writing remotely interesting, which makes this doubly frustrating. It's just a reflex.

 

Caitlin R. Kiernan

 

The good writing of any age has always been the product of someone's neurosis, and we'd have a mighty dull literature if all the writers that came along were a bunch of happy chuckleheads.

 

William Styron

 

Tension among a bunch of neurotics is just more interesting for a story than is a description of dedicated professionals doing their work and getting along, which is the case in reality. When in doubt, assume I made it up.

 

Christopher Moore

 

I don't believe authors need to keep any specific values or ideas in mind while they are writing for children, but I do think authors need to be aware of their audience, and of the effect their work may have. So if they want to address particularly sensitive topics or taboos, they have to do so consciously and carefully. This is very different to toeing a particular moral line or leaving things out.
Certainly I don't think good always has to triumph over evil; it depends on the story and the aims of the book. For example, I could envisage telling a story where the inaction of people leads to the triumph of evil. But I would include the hope that this would lead to the people involved doing better next time. Is that story then really about the triumph of evil, or is it about the awakening of opposition to evil?

 

Garth Nix