“You're going to write straight and simple and good now. That's the start.'
'What if I'm not straight and simple and good? Do you think I can write that way?'
'Write how you are but make it straight.”

—  Ernest Hemingway , book Islands in the Stream

Pt. 1: Bimini, Section 10
Islands in the Stream (1970)

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Ernest Hemingway photo
Ernest Hemingway 501
American author and journalist 1899–1961

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“The hardest thing to do is to write straight honest prose on human beings. First you have to know the subject; then you have to know how to write.”

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“A writer who writes straight is the architect of history.”

John Dos Passos (1896–1970) novelist, playwright, poet, journalist, painter

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Context: The mind of a generation is its speech. A writer makes aspects of that speech enduring by putting them in print. He whittles at the words and phrases of today and makes of them forms to set the mind of tomorrow's generation. That's history. A writer who writes straight is the architect of history.

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“Of course, the test difficulty depends on what you're doing, and on how you're doing it. I'm constantly asking "How much would I have to screw this up to write an incorrect function that passes these simple tests?" Occasionally the answer is "Not much," so I'll throw the code away and start over. It was probably perfect code, but that's not good enough.”

Daniel J. Bernstein (1971) American mathematician, cryptologist and programmer

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“I think what I'm going to do is vary my output, do some straight science fiction and some straight fantasy that doesn't involve mythology, and composites.”

Roger Zelazny (1937–1995) American speculative fiction writer

"A Conversation With Roger Zelazny" (8 April 1978), talking with Terry Dowling and Keith Curtis in Science Fiction Vol. 1, #2 (June 1978) http://web.archive.org/web/20070701010155/zelazny.corrupt.net/19780408int.html#2
Context: Yeah, the mythology is kind of a pattern. I'm very taken by mythology. I read it at a very early age and kept on reading it. Before I discovered science fiction I was reading mythology. And from that I got interested in comparative religion and folklore and related subjects. And when I began writing, it was just a fertile area I could use in my stories.
I was saying at the convention in Melbourne that after a time I got typed as a writer of mythological science fiction, and at a convention I'd go to I'd invariably wind up on a panel with the title "Mythology and Science Fiction". I felt a little badly about this, I was getting considered as exclusively that sort of writer. So I intentionally tried to break away from it with things like Doorways in the Sand and those detective stories which came out in the book My Name Is Legion, and other things where I tried to keep the science more central.
But I do find the mythological things are creeping in. I worked out a book which I thought was just straight science fiction -- with everything pretty much explained, and suddenly I got an idea which I thought was kind of neat for working in a mythological angle. I'm really struggling with myself. It would probably be a better book if I include it, but on the other hand I don't always like to keep reverting to it. I think what I'm going to do is vary my output, do some straight science fiction and some straight fantasy that doesn't involve mythology, and composites.

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“Definitely if I am writing something that feels completely straight, I’ll sew some queerness in there, because queerness is always there. It’s like when you’re writing a cityscape, you need to write in the characters that would be there. To me, not doing that is more of a choice.”

Mariko Tamaki (1975) Canadian writer and artist

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“I think whenever you write something you want people to like it. The best way to do that, usually, is to write what you think is good. That’s basically what everyone tries to do… just to write what they think is good. Part of that is staying true to the characters and the world (which makes it a kids show by it’s design)… and part of that is introducing deeper concepts that we, as writers, are curious about exploring”

Patrick McHale (artist) (1983) writer, storyboard artist, animator, filmmaker

which makes it more interesting for adults
Interview with Pat McHale (Adventure Time, Over the Garden Wall writer) https://crackplot.com/2015/06/13/interview-with-pat-mchale-adventure-time-over-the-garden-wall-writer/ (June 13, 2015)

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“Give it to me straight from the heart.
Tell me we can make one more start.
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It's comin' straight from the heart.”

Bryan Adams (1959) Canadian singer-songwriter

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“I love the stuff and material of writing: words. The games you can play with them. The rhythm and lyricism in a good passage of writing. The power of a simple sentence. I also love the paradoxical bind of writing as both freedom and constraint. You start creating characters and scenes out of thin air. But if you do it well enough, that freedom constricts, because your characters are no longer inside you. They become their own people, agents on the page who need to act and think and feel in ways true to who they are…”

Randa Abdel-Fattah (1979) contemporary Australian writer of novels for young adults

On writing as a kind of spiritual act in “Both Freedom and Constraint: An Interview with Randa Abdel-Fattah” https://www.wordswithoutborders.org/article/both-freedom-and-constraint-an-interview-with in Words Without Borders (May 2015)

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“All you have really to do is to keep your back as straight as you can; and not think about what is upon it. The real and essential meaning of "virtue" is that straightness of back.”

John Ruskin (1819–1900) English writer and art critic

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 170.

“Like drawing a straight line – you draw a straight line and it's crooked and you draw another straight line on top of it and it's crooked a different way and then you draw another one and eventually you have a very rich thing on your hands which is not a straight line. If you can do that the it seems to me you are doing more than most people. The thing is, it is very difficult to know oneself whether one is doing that or not, whether you mean what you do; and there is the other problem of the way you do it and whether sometimes you do more than you mean or you do less than you mean. It's very good if you can establish a language where it's clear that that is what you are doing – that you do what you mean to do.”

Jasper Johns (1930) American artist

interview at John's studio, Billy Klüver, March 1963, as quoted in Jasper Johns, Writings, sketchbook Notes, Interviews, ed. Kirk Varnedoe, Moma New York, 1996, p. 85
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