Raymond Chandler

Raymond Chandler
Raymond Thornton Chandlerwas a British-American novelist and screenwriter. In 1932, at the age of forty-four, Chandler became a detective fiction writer after losing his job as an oil company executive during the Great Depression. His first short story, "Blackmailers Don't Shoot", was published in 1933 in Black Mask, a popular pulp magazine. His first novel, The Big Sleep, was published in 1939. In addition to his short stories, Chandler published seven novels during his lifetime. All but Playback have been...
NationalityAmerican
ProfessionNovelist
Date of Birth23 July 1888
CityChicago, IL
CountryUnited States of America
Two very simple rules: A. You don't have to write. B. You can't do anything else The rest comes of itself.
The agent never receipts his bill, puts his hat on and bows himself out. He stays around forever, not only for as long as you can write anything that anyone will buy, but as long as anyone will buy any portion of any right to anything that you ever did write. He just takes ten per cent of your life.
Don't ever write anything you don't like yourself and if you do like it, don't take anyone's advice about changing it. They just don't know.
The most durable thing in writing is style. It is a projection of personality and you have to have a personality before you can project it. It is the product of emotion and perception.
The actual writing is what you live for. The rest is something you have to get through in order to arrive at the point.
Would you convey my compliments to the purist who reads your proofs and tell him or her that I write in a sort of broken-down patois which is something like the way a Swiss waiter talks, and that when I split an infinitive, God damn it, I split it so it will stay split, and when I interrupt the velvety smoothness of my more or less literate syntax with a few sudden words of bar-room vernacular, that is done with the eyes wide open and the mind relaxed but attentive.
The challenge is to write about real things magically.
What greater prestige can a man like me (not too gifted, but very understanding) have than to have taken a cheap, shoddy and utterly lost kind of writing, and have made of it something that intellectuals claw each other about?
Good critical writing is measured by the perception and evaluation of the subject; bad critical writing by the necessity of maintaining the professional standing of the critic.
At least half the mystery novels published violate the law that the solution, once revealed, must seem to be inevitable.
There are people who can write their memoirs with a reasonable amount of honesty, and there are people who simply cannot take themselves seriously enough. I think I might be the first to admit that the sort of reticence which prevents a man from exploiting his own personality is really an inverted sort of egotism.
They write them long because they can't write them short.
[As a screenwriter] I have a sense of exile from thought, a nostalgia of the quiet room and balanced mind. I am a writer, and there comes a time when that which I write has to belong to me, has to be written alone and in silence, with no one looking over my shoulder, no one telling me a better way to write it. It doesn't have to be great writing, it doesn't even have to be terribly good. It just has to be mine.
The most durable thing in writing is style, and style is the most valuable investment a writer can make with his time. It pays off slowly, your agent will sneer at it, your publisher will misunderstand it, and it will take people you have never heard of to convince them by slow degrees that the writer who puts his individual mark on the way he writes will always pay off.