The thing about writing is no to talk, but to do it; no matter how bad or even mediocre it is, the process and production is the thing, not the sitting and theorizing about how one should write ideally, or how well one should write if one really wanted to or had the time. As Alfred Kazin told me: "You don't write to support yourself; you work to support your writing."
I am a writer as I might have been a doctor or a lawyer. It is so pleasant a profession that it is not surprising that a vast number of persons adopt it who have no qualifications for it. It is exciting and various. The writer is free to work in whatever place and whatever time he chooses; his is free to idle if he feels ill or dispirited.
Most people have little interest in how plumbers fix sinks or how electricians wire houses. Moreover, in terms of how these skills are learned and applied, there isn't much diversity. But when it comes to how a person produces a novel, short story, or a work of creative nonfiction, there is plenty of interest and diversity. Published writers are always being asked when they write, how many hours a day they write, how many words they get down on paper daily, exactly where they write, what they write with, and so forth. In the world of writing, matters such as these, referred to as work habits, are fascinating and important. Such queries often extend into the creative process itself.
The Devil comes to the writer and says, "I will make you the best writer of your generation. Never mind generation--of the century. No--this millennium! Not only the best, but the most famous, and also the richest; in addition to that, you will be very influential and your glory will endure for ever. All you have to do is sell me your grandmother, your mother, your wife, your kids, your dog and your soul." "Sure," says the writer, "absolutely--give me the pen, where do I sign?" Then he hesitates. "Just a minute," he says. "What's the catch?"
Book reviews are written to be read: They are work done for others' enjoyment and edification; unlike some art, they are meant to inform an audience, not perform for one, and they usually follow a predictable pattern: name of book, summary of what book is about, followed by a competent, well-argued opinion as to whether the book's author achieved his or her aims.