quotations about writing
The first paragraph. The last paragraph. That's where the story is going and how it's going to end. Or else you'll go off in a hundred different directions.
HUNTER S. THOMPSON
The Paris Review, fall 2000
Making a book is a craft, like making a clock; it needs more than native wit to be an author.
JEAN DE LA BRUYÈRE
"Of Works of the Mind", Les Caractères
To turn experience into speech -- that is, to classify, to categorize, to conceptualize, to grammarize, to syntactify it -- is always a betrayal of experience, a falsification of it; but only so betrayed can it be dealt with at all, and only in so dealing with it did I ever feel a man, alive and kicking.
JOHN BARTH
The End of the Road
If there is a special Hell for writers it would be in the forced contemplation of their own works.
JOHN DOS PASSOS
New York Times, October 25, 1959
It is hard to make a good documentary about writing. Writing is internal, it slowly takes shape in a mind, sometimes after the not very cinematic process of staring at a wall until the words come.
JULIA COOPER
"Obit doc examines the art of the obituary at The New York Times", The Globe and Mail, March 30, 2017
Writing is a part of healing, of digging into society.
KHALED KHALIFA
"Syrian novelist Khaled Khalifa tells the stories of a bleeding, beautiful country", Syria Direct, March 23, 2017
Writing, in war and in peace, is the same thing. The only difference is how you view yourself.... Mass death, revolutions and history make you reconsider things.
KHALED KHALIFA
"Syrian novelist Khaled Khalifa tells the stories of a bleeding, beautiful country", Syria Direct, March 23, 2017
You don't start out writing good stuff. You start out writing crap and thinking it's good stuff, and then gradually you get better at it. That's why I say one of the most valuable traits is persistence. It's just so easy to give up!
OCTAVIA E. BUTLER
Locus Magazine, June 2000
In a very real way, one writes a story to find out what happens in it. Before it is written it sits in the mind like a piece of overheard gossip or a bit of intriguing tattle. The story process is like taking up such a piece of gossip, hunting down the people actually involved, questioning them, finding out what really occurred, and visiting pertinent locations. As with gossip, you can't be too surprised if important things turn up that were left out of the first-heard version entirely; or if points initially made much of turn out to have been distorted, or simply not to have happened at all.
SAMUEL R. DELANY
The Jewel-Hinged Jaw
The novelist is like the conductor of an orchestra, his back to the audience, his face invisible, summoning the experience of music for the people he cannot see. The writer as conductor also gets to compose the music and play all of the instruments, a task less formidable than it seems. What it requires is the conscious practice of providing an extraordinary experience for the reader, who should be oblivious to the fact that he is seeing words on paper.
SOL STEIN
Stein on Writing
The reason I write so slowly is because I try never to leave a sentence until it's as perfect as I can make it. So there isn't a word in any of my books that hasn't been gone over 40 times.
TOM ROBBINS
"In the Creative Process with Tom Robbins; Perfect Sentences, Imperfect Universe", New York Times, December 30, 1993
For a fiction writer, a storyteller, the world is full of stories, and when a story is there, it's there, and you just reach up and pick it.
URSULA K. LE GUIN
The Wave in the Mind: Talks and Essays on the Writer, the Reader, and the Imagination
I wish my prose to be transparent--I don't want the reader to stumble over me; I want him to look through what I'm saying to what I'm describing. I don't want him ever to say, Oh, goodness, how nicely written this is. That would be a failure.
V. S. NAIPAUL
The Paris Review, fall 1998
I believe one writes because one has to create a world in which one can live. I could not live in any of the worlds offered to me -- the world of my parents, the world of war, the world of politics. I had to create a world of my own, like a climate, a country, an atmosphere in which I could breathe, reign, and recreate myself when destroyed by living. That, I believe, is the reason for every work of art.
ANAÏS NIN
diary, February 1954
Good writers define reality; bad ones merely restate it.
EDWARD ALBEE
Saturday Review, May 4, 1966
Write as the wind blows and command all words like an army!
HILAIRE BELLOC
The Path to Rome
I do everything they tell you not to. I go back and fix things as I go, otherwise I can't move forward. I don't write every day, I write in binges. I don't write drafts, what I write, fixed as I go, is pretty much what gets published. Everybody writes differently, and there are a lot of people who want everybody to write in the same way, people who have a lot invested in telling people to write a whole crappy first draft and then revise it, and so on. That absolutely doesn't work for me. I tell people there are things they can try, and things that might help, but there aren't any rules, except to do what works for you, what gets the story on the page.
JO WALTON
interview, RT Book Reviews
To string incongruities and absurdities together in a wandering and sometimes purposeless way, and seem innocently unaware that they are absurdities, is the basis of the American art, if my position is correct.
MARK TWAIN
"How to Tell a Story"
I never had a plan, except to write. I love what I do, and have from the beginning. Loving what you do makes it a lot easier to work, every day, to face the tough spots and heel in for the long haul. Nothing against plans; they work for some people. But for me, if I'd been planning, worrying about numbers, trying to micro-manage my career, I wouldn't have focused on the writing. If you don't write, you're not read. If you're not read, you don't sell. So that's my Master Plan, I guess. Write the books, let the agent agent, the editor edit, the publisher publish.
NORA ROBERTS
interview, inReads, October 5, 2011
Transitions are usually not that interesting. I use space breaks instead, and a lot of them. A space break makes a clean segue whereas some segues you try to write sound convenient, contrived. The white space sets off, underscores, the writing presented, and you have to be sure it deserves to be highlighted this way. If used honestly and not as a gimmick, these spaces can signify the way the mind really works, noting moments and assembling them in such a way that a kind of logic or pattern comes forward, until the accretion of moments forms a whole experience, observation, state of being. The connective tissue of a story is often the white space, which is not empty.
AMY HEMPEL
The Paris Review, summer 2003