The only non-fiction I’ve gobbled up by Pat so far is this useful book on writing with tips that stretch beyond the “suspense” label. She relies on her decades of successfully publishing books and stories and reveals her process, unbuttoning the kimono.
“I create things out of boredom with reality and with the sameness of routine and objects around me. Therefore, I don’t dislike this boredom which encroaches on me every now and then, and I even try to create it by routine.” She also admits to enjoying conversations with people that others find dull: “there are some people, often most unlikely people—dull-witted, lazy, mediocre in every way—who are for some inexplicable reason stimulating to the imagination. I have known many such people. I like to see and talk to them now and then, if I can.”
In her twenties, she worked during the day and would come home, nap at 6pm, then bathe and change clothes, getting up for her second job which was to write her own work. “This gave me an illusion of two days in one and made me as fresh for the evening as I could be.”
To combat fatigue, she advocates for taking a trip, even a short, cheap trip to change the scene. “If you can’t take a trip, take a walk.” Lack of ideas might also be due to the people you’re around.
Technical specifics get into outlining chapters, always with the question in mind about how this chapter advances the story. List the specific points you want to cover in each chapter and have that beside you as you write it.
She sneers at people who imitate current trends that are selling: “A writer can be assured of a good living by imitating current trends and by being logical and pedestrian, because such imitations sell and do not take too much out of a writer in an emotional sense.”
Pat cries foul of those writers who love to let their characters take on a life of their own: “I do not subscribe to the belief that having a vigorous character who acts for himself is always good. After all, you are the boss, and you don’t want your characters running around all over the place or possibly standing still, no matter how strong they may be.”
Dialogue can be summed up where not important to increase the dramatic effect. Instead of tediously listing out the characters’ lines, “Howard refused to budge, though she argued with him for a full half hour.”
As usual, the best writing advice is simply to do it, and to do it often. She is speaking directly to me here:
One need not be a monster, or feel like one, to demand two or three hours absolute privacy here and there. This schedule should become a habit, and the habit, like writing itself, a way of life. It should become a necessity; then one can and will always work. It is possible to think like a writer all one’s life, to want to be a writer, yet to write seldom, out of laziness or lack of habit. Such a person may write passably well when he writes—such people are known as great letter writers—and may even sell a few things, but that is doubtful. Writing is a craft and needs constant practice.
Throughout, she dissects her successful books and her failures. This book is a must-read for any Highsmith fan to get her take on her own work. When discussing Strangers on a Train, she says “It is a wonder this simple idea [strangers exchanging murders] is not used more often in real life, and perhaps it is, since it is said that only eleven percent of the murders committed are ever solved.”