Stephen Graham Jones quotes:

This is form and content and diction and tone and imagination all looking up at the exact same moment: When Molly Tanzer claps once at the front of the classroom.

Angels, demons, sex. Heaven, hell, war. Blood and royalty, history and magic, fire and ice. And a story you cannot put down. This is fantasy at its best.

Art isn't and shouldn't be responsible. If it is, it isn't functioning as art.

Craft can get you through ninety percent of a piece, but it's art that carries you at the end.

It's important to look ahead, I think, to shape your stuff for - again - effect. Because it's just so easy to write long, flowy sentences, get lost in them. The hard part's making them matter, making yourself make them matter.

Life's so much easier when you're not always maintaining two worlds: the one formed of lies, which feels real, and the one you live in, which often feels like lies. So easy to get them confused.

This is what noir is, what it can be when it stops playing nice--blunt force drama stripped down to the bone, then made to dance across the page.

Football's another sport I absolutely despise. Along with baseball. Really, for me, basketball's the only real sport, the only one that matters.

I do love the challenge of screenplays. They're so difficult, such an alien form. It makes them endlessly fascinating. Something I can't keep my fingers out of.

I think writers can get too attached to these worlds they create, these characters they make real, so that, instead of ending the story where the story's asking to end, they draw it out, unable to let go.

It's just the garbage in/garbage out trick. If you're not taking any fiction in, good or bad, then how can you be spitting any back out (good or bad)? I can't even imagine trying to write without reading. Really, I can hardly write a novel at all if I'm not reading just book after book.

The stories I respect most aren't those with the rich, dense prose, but those which achieve a rich, deep effect with simple little nothing-sentences, lines I won't possibly remember, because they simply functioned, didn't draw attention to themselves, were properly humble.

The truth is, poverty's the environment for alcoholism, and the reservations aren't rich. Maybe cleaning people up in fiction is just as dangerous as presenting them unfiltered.

There's no really other way to learn writing than by writing. So accelerate that as much as you can. The more you write, the better you'll get. What also helps, though, is walking away from broken stuff. Not everything's going to work. Killing two years of your life trying to resuscitate a dying novel, I don't know. Why not just write a different one? You'll have more ideas. You can't help having ideas.

What the readers want is a good story, and what the writers always want to luck into, it's a good story.

When I am writing a novel, though, then it's usually three or four hours a day. Ideally, right after lunch until three or four, but sometimes picking up again around ten, going until a touch after midnight. I rarely write in the morning, unless I'm on deadline. I do like rewriting in the morning, though. Guess it's the way my brain's put together. Or, the way it's falling apart.

Writing, of course, it's not all in your head. Not talking about the 'manual' act of typing here either, but that, when your fiction's really working, your whole body's involved, and then some.