WRITING QUOTES XXII

quotations about writing


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Mostly, we authors must repeat ourselves--that's the truth. We have two or three great moving experiences in our lives--experiences so great and moving that it doesn't seem at the time that anyone else has been so caught up and pounded and dazzled and astonished and beaten and broken and rescued and illuminated and rewarded and humbled in just that way ever before.

F. SCOTT FITZGERALD
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"One Hundred False Starts", Saturday Evening Post, March 4, 1933


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I've gotten a little superstitious about listening to music when I write. Once a story is going somewhere, I keep listening to the same music whenever I work on that story. It seems to help me keep in voice, and alternatively, if I need to make some kind of dramatic shift, I'll go and put on something different to shake myself awake.

KELLY LINK

"Words by Flashlight", Sybil's Garage, June 7, 2006

Tags: Kelly Link


To refer even in passing to unpublished or struggling authors and their problems is to put oneself at some risk, so I will say here and now that any unsolicited manuscripts or typescripts sent to me will be destroyed unread. You must make your way yourself. Why you should be so set on the nearly always disappointing profession is a puzzling question.

KINGSLEY AMIS

The Amis Collection: Selected Non-fiction

Tags: Kingsley Amis


The art of the word is painting + architecture + music.

YEVGENY ZAMYATIN

The New Russian Prose

Tags: Yevgeny Zamyatin


I think a writer's job is to provoke questions. I like to think that if someone's read a book of mine, they've had--I don't know what--the literary equivalent of a shower. Something that would start them thinking in a slightly different way perhaps. That's what I think writers are for. This is what our function is.

DORIS LESSING

The Paris Review, spring 1988


It didn't occur to me that my books would be widely read at all, and that enabled me to write anything I wanted to. And even once I realized that they were being read, I still wrote as if I were writing in secret. That's how one has to write anyway--in secret.

LOUISE ERDRICH

The Paris Review, winter 2010


I would say that the writers I like and trust have at the base of their prose something called the English sentence. An awful lot of modern writing seems to me to be a depressed use of language. Once, I called it "vow-of-poverty prose." No, give me the king in his countinghouse. Give me Updike.

MARTIN AMIS

The Paris Review, spring 1998


It's a principle of mine to come into the story as late as possible, and to tell it as fast as you can.

JOHN LE CARRÉ

interview, The Paris Review, summer 1997

Tags: John le Carré


I can't leave a chapter alone until I think it's as good as I can make it at that time. Often I will reach a stage, say, a third of the way into the book, where I realize there's something very wrong. Everything starts to feel shallow and false and unsatisfactory. At that stage I'll go back to the beginning. I might have written only fifty pages, but it's like a cantilever and the whole thing is getting very shaky because I haven't thought things through properly. So I'll start again and I'll write all the way through and then just keep going until it starts to get shaky again, and then I'll go back because I'll know that there's something really considerable, something deeply necessary waiting to be discovered or made. Often these are unbelievably big things. Sometimes they are things that readers will ultimately think the book is about.

PETER CAREY

The Paris Review, summer 2006

Tags: Peter Carey


You do have a leash, finally, as a writer. You're holding a dog. You let the dog run about. But you finally can pull him back. Finally, I'm in control. But the great excitement is to see what happens if you let the whole thing go. And the dog or the character really runs about, bites everyone in sight, jumps up trees, falls into lakes, gets wet, and you let that happen. That's the excitement of writing plays--to allow the thing to be free but still hold the final leash.

HAROLD PINTER

The Progressive, March 2001

Tags: Harold Pinter


I think it is essential to promote your work, since there are over 100,000 books published each year, and readers can fall in love with books they've never heard about.

DOUGLAS CARLTON ABRAMS

interview, The Writer's Life

Tags: Douglas Carlton Abrams


I'm pretty obsessive-compulsive and I'm very fast. I tend to not write for a long period of time until I can't not write, and then I write first drafts in gallops. I won't eat right. I forget to do my laundry. I have a dog now, and I have to remember to walk him. When I write, that takes over and I can't do anything else. There's something exciting about that free fall, but then my life gets really screwed up. I've lost lots of relationships because of my having to ignore everything.

ADAM RAPP

interview, Theatre Communications Group

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Trouble not thyself about the fate of thy writings: if what thou hast writ be worth preserving, no flood, however mighty, can sweep it away; if it be worthless, no ink, however prepared, can make it indelible.

IVAN PANIN

Thoughts

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If you want to write ... You must lurk in libraries and climb the stacks like ladders to sniff books like perfumes and wear books like hats upon your crazy heads.

RAY BRADBURY

attributed, Words from the Wise

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I have friends, some of whom are spectacularly good writers, who really want someone to edit them. I don't register that impulse. It's like the impulse for wanting a dog.

FRAN LEBOWITZ

interview, A. V. Club, June 17, 2011

Tags: Fran Lebowitz


Nowadays three witty turns of phrase and a lie make a writer.

GEORG CHRISTOPH LICHTENBERG

"Notebook D", Aphorisms

Tags: Georg Christoph Lichtenberg


A writer is somebody for whom writing is more difficult than it is for other people.

THOMAS MANN

Essays of Three Decades


One forges one's style on the terrible anvil of daily deadlines.

EMILE ZOLA

Le Figaro


The moment comes when a character does or says something you hadn't thought about. At that moment he's alive and you leave it to him.

GRAHAM GREENE

New York Times, October 9, 1985


It's not the word made flesh we want in writing, in poetry and fiction, but the flesh made word.

WILLIAM H. GASS

On Being Blue