* “don’t do” in The Art of Fiction by John Gardner

• the “dream” the writer creates for the reader must be continuous; avoid interruptions and distractions which force the reader to stop thinking about the story and start thinking about something else

* “don’t do” in Les Miserable by Victor Hugo

• Hugo gives in to the temptation, common in writers of historical fiction (including myself), of “showing off” his research. I studied it, I think it’s interesting, so I’m going to tell you everything I know. This is a serious mistake, certainly for me, but even for Victor Hugo. (see ‘The Year 1817’ p. 119)

* “don’t do” in Club Dumas by Arturo Perez-Reverte

• transitions. (185-86) the reader is suddenly transported from Fargas’ home in Portugal to Paris, with no transition. The details of this change of scene are presented later (187-88). Does this work?  I don’t think so. It’s a technique similar to what Tolstoy does repeatedly in Anna Karenina. Ah, crticizing Tolstoy – heresy!
• exposition. long, detailed descriptions and lists of old books, which the reader can’t possibly read and absorb. what is the purpose?

* “don’t do” in Stein on Writing by Sol Stein

• avoid anything that distracts from the reader’s experience even momentarily
• don’t over-characterize a minor character, making the reader think he is more important than he is; select one memorable characteristic that distinguishes this character from the rest of humanity and let it go at that
• don’t present characters who are either all good or all bad. It’s not believeable. show the contrasts. for example … suggest a character’s vulnerability before that character exercises power, or show a character’s strength before that character is hurt physically or emotionally

“don’t do” in Write Away by Elizabeth George

avoid preaching 

avoid dealing with too many ideas at once

* “don’t do” in The Spooky Art by Norman Mailer

• The moment you moralize in your novel, your book is no longer moral.  It has become pious, and piety corrodes morality. 
• Don’t go into your protagonist’s thoughts until you have something to say about his inner life that is more interesting than the reader’s suppositions