The old canard that guides journalism, repeated with heavy sarcasm to anyone stretching the rules—never let the truth get the way of a good story—has some serious limitations in fiction. In the alternate space of fiction, the truth is the good story.
George Lerner, author of The Ambassadorsin “We Interrupt This Broadcast: How a TV Producer Learned to Write Fiction,” at The Daily Beast
Also, it makes it sound like the editor is a trainer and I am a golden retriever, but it is wise to offer praise. My editor made it clear she loved the book and in our discussions we’d confirmed that our visions of its best incarnation aligned, so she could also give me notes like, “I just feel like this section is so long and talky and boring,” and my trust in her and maybe my Stockholm syndrome were strong enough that I could hear her.
My first clue that my book would not be a bestseller came in a marketing meeting about six months prior to publication. Actually there were several clues in that meeting. The first came when a marketing assistant suggested that I start a blog, and I had to explain that her bosses had acquired my book in part because I was a well-known blogger.
How Much My Novel Cost Me,” a great and honest essay by Emily Gould
I have very specific advice for aspiring writers: go to New York. And if you can’t go to New York, go to the place that represents New York to you, where the standards for writing are high, there are other people who share your dreams, and where you can talk, talk, talk about your interests. Writing books begins in talking about it, like most human projects, and in being close to those who have already done what you propose to do.