Creativity Isn’t Magic: 7 Practical Lessons from Patricia Highsmith
It starts with a germ in the fog—ends with a snag and persistence
I’ve read more Patricia Highsmith than any other writer—nearly her entire catalog. Her first book, written at 22, Strangers on a Train, was adapted into a film by the legendary Alfred Hitchcock. She’s also the creator of The Talented Mr. Ripley series, which inspired another award-winning Hollywood film. Highsmith’s ability to dig into the darker sides of relationships and human nature, paired with her sharp storytelling and style, keeps me coming back. And then there’s her gayness.
Last week I picked up her book Plotting and Writing Suspense Fiction (1966). I’m obsessed with books on writing—it’s a behind-the-scenes look into understanding how writers think and work.
I found Highsmith’s insights go way beyond writing. They’re lessons in habits, persistence, and handling creative blocks. One line really stuck with me:
“The first person you should think of pleasing, in writing a book, is yourself.”
If the work doesn’t satisfy you, it won’t resonate with anyone else. Highsmith’s notes feels relevant to anyone navigating creative work or reinvention, not just writers.
The Germ of an Idea
Highsmith starts with “The Germ of an Idea,” and the metaphor feels so her: nasty, invisible, persistent, and spreading. It’s the perfect way to describe the messy, unpredictable beginnings of creative work. When ideas come, write them down immediately.
She says you’ll recognize the right germ by the excitement it brings—a spark that urges you to follow it.
“The germs for story ideas may be little or big, simplex or complex, fragmentary or rather complete, still or moving.” 🦠🦠🦠
Inspiration is everywhere; it’s just a matter of noticing it and letting it grow.
On Plotting and Clarity
Highsmith’s approach to structure is prescriptive in a way I love. She’s not just thinking like a novelist but like someone who understands the business side of things—she knows what her publisher expects. A novel, in her view, is 250 pages, sketched out with a clear sense of purpose. Every chapter has a specific point, and she literally kept that point on a note card next to her typewriter.
I admire how practical this is. It’s about staying focused and avoiding tangents. Highsmith warns against “tyro mistakes”—new writers getting so absorbed in their prose that they lose the story’s momentum. (Yes, I looked up “tyro” and am using it now to sound smart.) She stresses the importance of always knowing where the climax and ending are, even if the details along the way feel foggy. The fog isn’t a problem; it’s just part of the process. You’ll figure it out when you get there.
She’s also big on beginnings. The first page, she says, is everything. It either pulls the reader in or loses them entirely. Her advice? Write the whole story first, then go back and perfect the opening. This doesn’t just apply to novels—it’s true for emails, pitches, and presentations. First impressions set the tone for everything that follows.
On Schedules and Boundaries
“A writer must make his own schedule and stick to it. A sense of pride in your work is essential. If you permit interruptions and accept invitations, your pride is slowly tarnished.”
That line hit me hard. Pride in your work isn’t just about the result; it’s about showing up for yourself, over and over again. With pride brings confidence.
I’ve recently started a habit of writing for 30 minutes every morning. Some days, what I write isn’t great, but sticking to the habit makes me feel accomplished. Pride builds confidence, and confidence grows when you keep those promises to yourself. Highsmith’s point about carving out time is so true: it’s not selfish to demand a few hours of privacy; it’s necessary.
She reminds us,
“One need not be a monster, or feel like one, to demand 2 or 3 hours absolute privacy here and there. This schedule should become a habit…a way of life.”
Setting boundaries isn’t about cutting people off; it’s about making space for what matters most. Discipline alone isn’t enough. It needs a framework to thrive. The Highsmith blueprint: make the time, have a plan, and approach it with passion—is something I’ve been leaning into.
On Snags
Highsmith’s view on snags is like this: they’re inevitable. Big or small, simple or complex, snags happen. For her, they could mean crafting a plot twist or fixing a tiny procedural detail, but her advice applies to any creative process.
Got a snag? Get out of your head. Do something mechanical—type, stack wood, take a walk. These kinds of tasks free your mind to untangle deeper problems that can’t be solved by overthinking. She shares a story about hitting a 20-page snag while writing one of the Ripley novels. After trying everything: (1) Thinking about it (2) not thinking about it (3) reading the preceding 50 pages – eventually began typing carbons of the first part in final form, not to ‘waste time’ → this mechanical activity did the trick.
Highsmith’s 7 Practical Creative Lessons
🦠 Capture the Germ: Nasty, invisible, vicious, and spreading. Jot down ideas as soon as they come. Move forward with the germ of the idea that captures that spark of excitement.
👁 Stay Focused: Outline your purpose. Each chapter (or task) should serve the bigger picture.
📑 First Page, First Impressions: Whether it’s the first page of a novel or the opening line of an email. It must draw the in the audience, otherwise they’re gone.
⏰ Build a Schedule: Create a routine and stick to it. Pride comes from showing up consistently. Even if it’s 30 minutes/day. This will become a habit, your life.
‼️Set Boundaries: Protect your creative time. It’s not selfish; it’s essential. Turn off the phone, lock the door.
🥨 Embrace Snags: When stuck, step away. Let your mind wander. Find a mechanical task like washing dishes that moves your body and frees your mind.
💕 Please Yourself First: If your work doesn’t satisfy you, it won’t resonate with others.
The biggest takeaway from Highsmith’s Plotting and Writing Suspense Fiction is that her advice goes far beyond writing. It’s about how to approach any creative process with discipline, persistence, and self-trust.
Highsmith doesn’t romanticize creativity. She’s practical and clear-eyed about its challenges. Whether it’s crafting a first impression, working through a snag, or setting boundaries, her advice is a roadmap for creating meaningful work.
Focus on what excites you, honor your habits, and trust that the process will carry you through—even when it’s messy.
I think too many creatives speak about creativity in grand and ethereal terms. I’m firm believer that creativity is very practical, and it’s best to show up everyday and do the work.
Ah the part about pride in your work...important reminder! "it’s not selfish to demand a few hours of privacy; it’s necessary."