When your story is ready for rewrite, cut it to the bone. Get rid of every ounce of excess fat. This is going to hurt; revising a story down to the bare essentials is always a little like murdering children, but it must be done.
“When writing a novel a writer should create living people; people not characters. A character is a caricature. If a writer can make people live there may be no great characters in his book, but it is possible that his book will remain as a whole; as an entity; as a novel. If the people the writer is making talk of old masters; of music; of modern painting; of letters; or of science then they should talk of those subjects in the novel. If they do not talk of these subjects and the writer makes them talk of them he is a faker, and if he talks about them himself to show how much he knows then he is showing off. No matter how good a phrase or a simile he may have if he puts it in where it is not absolutely necessary and irreplaceable he is spoiling his work for egotism. Prose is architecture, not interior decoration, and the Baroque is over. For a writer to put his own intellectual musings, which he might sell for a low price as essays, into the mouths of artificially constructed characters which are more remunerative when issued as people in a novel is good economics, perhaps, but does not make literature. People in a novel, not skillfully constructed characters, must be projected from the writer’s assimilated experience, from his knowledge, from his head, from his heart and from all there is of him. If he ever has luck as well as seriousness and gets them out entire they will have more than one dimension and they will last a long time. A good writer should know as near everything as possible. Naturally he will not. A great enough writer seems to be born with knowledge. But he really is not; he has only been born with the ability to learn in a quicker ratio to the passage of time than other men and without conscious application, and with an intelligence to accept or reject what is already presented as knowledge. There are some things which cannot be learned quickly and time, which is all we have, must be paid heavily for their acquiring. They are the very simplest things and because it takes a man’s life to know them the little new that each man gets from life is very costly and the only heritage he has to leave. Every novel which is truly written contributes to the total of knowledge which is there at the disposal of the next writer who comes, but the next writer must pay, always, a certain nominal percentage in experience to be able to understand and assimilate what is available as his birthright and what he must, in turn, take his departure from. If a writer of prose knows enough about what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an ice-berg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing. A writer who appreciates the seriousness of writing so little that he is anxious to make people see he is formally educated, cultured or well-bred is merely a popinjay. And this too remember; a serious writer is not to be confounded with a solemn writer. A serious writer may be a hawk or a buzzard or even a popinjay, but a solemn writer is always a bloody owl.”
Advice? I don’t have advice. Stop aspiring and start writing. If you’re writing, you’re a writer. Write like you’re a goddamn death row inmate and the governor is out of the country and there’s no chance for a pardon. Write like you’re clinging to the edge of a cliff, white knuckles, on your last breath, and you’ve got just one last thing to say, like you’re a bird flying over us and you can see everything, and please, for God’s sake, tell us something that will save us from ourselves. Take a deep breath and tell us your deepest, darkest secret, so we can wipe our brow and know that we’re not alone. Write like you have a message from the king. Or don’t. Who knows, maybe you’re one of the lucky ones who doesn’t have to.
Keep writing. Improve. Finish things. Start new ones. Read everything you can. Don’t stop, and don’t listen to anyone who says you can’t do it.
I put a piece of paper under my pillow, and when I could not sleep I wrote in the dark.
Either write something worth reading, or do something worth writing.
You were once wild here. Don’t let them tame you.
Writers need to focus on the one thing that they do have control over: entertaining their readers. (…) My advice: be entertaining. You might not win any awards. You might get crummy reviews. The literati will despise you, your peers will vilify you, and many folks will dedicate themselves to knocking you down. But trust me - an email from Jane Average in Oregon who named her cat after your main character means more than any of the above accolades I’ve mentioned. Because that is a goal you did reach. You entertained somebody.
Write the best book you possibly can, then dedicate yourself to getting people to read it.