“(D)ialogue is generally the worst choice for exposition. 'When you're writing lines...you need to focus on the way people actually talk. And when we talk to each other we never actually explain our terms. We don't say 'Sweetheart, would you… — Jincy Willett Copy Share Image
Reading was not an escape for her, any more than it is for me. It was an aspect of direct experience. She distinguished, of course, between the fictional world and the real one, in which she had to prepare dinners… — Jincy Willett Copy Share Image
“I thought, you see, that there must be some connection between money and memorable experience; between rare wine and rare intelligence. In short, I… — Jincy Willett Copy Share Image
Just start the sentence...and see what happens. This is how we write. — Jincy Willett Copy Share Image
“I love you," Kenneth said, with terrible dispassion, "but I would not burn the Library of Alexandria for you"; and Anita, drily sobbing, cried,… — Jincy Willett Copy Share Image
“With this book I hope what I always hope—that readers will nod their heads (not constantly, you know, but at the odd juncture) and… — Jincy Willett Copy Share Image
“(D)ialogue is generally the worst choice for exposition. 'When you're writing lines...you need to focus on the way people actually talk. And when we… — Jincy Willett Copy Share Image
“You might ask yourself why you want to surprise your readers in the first place. A surprise ending is sort of like a surprise… — Jincy Willett Copy Share Image
“Fiction, when it's done right, does in the daylight what dreams do at night: we leave the confines of our own experiences and go… — Jincy Willett Copy Share Image
Honestly, my sales pitch when I was a kid was, 'You don't want these Girl Scout cookies, do you?' If I had to push… — Jincy Willett Copy Share Image
