Writers On Writing Quotes - Page 2

Most writers who are beginners, if they are honest with themselves, will admit that they are praying for a readership as they begin to write. But it should be the quality of the craft not the audience, that should be the greatest motivating factor. For me, at least, I can declare that when I wrote THINGS FALL APART I couldn't have told anyone the day before it was accepted for publication that anybody was going to read it. There was no guarantee; nobody ever said to me, Go and write this, we will publish it and we will read it; it was just there. But my brother-in-law who was not a particularly voracious reader, told me that he read the novel through the night and it gave him a terrible headache the next morning. And I took that as an encouraging endorsement!The triumph of the written word is often attained when the writer achieves union and trust with the reader, who then becomes ready to be drawn deep into unfamiliar territory, walking in borrowed literary shoes so to speak, toward a deeper understanding of self or society, or of foreign peoples, cultures and situations.

There is only one way to overcome the difficulty of writing, and that is to write. Thought only becomes effective and productive at the time of writing.

Amélie Nothomb

The blank page, otherwise known as the vast playground of the writer's imagination.

J.L. Bond

A writer's style should be direct and personal, his imagery rich and earthy, and his words simple and vigorous. The greatest writers have the gift of brilliant brevity, are hard workers, diligent scholars and competent stylists.

Ernest Hemingway

I still believe in you, as a writer, but the only stuff we ever had in common doesn't travel very far.""What stuff is that?" he'd asked her."We're completely at ease being naked in front of strangers and total fuckheads", she'd told him. Maybe that's part of what being a writer entails, Danny Baciagalupo found himself thinking on that rainy spring night in Iowa city.

Why do writers write? Because it isn't there.

It's good to write badly. Things can only get better.

Writing is what happens when the words in your head are overpowered by the words in your heart.

J.L. Bond

Introduction of deus ex machina is a tell-tale sign of sloppy plotting.

I assure you, I've come to one of those natural breaks in the book, where one can walk away and let things go on working in the subconscious. It's true, don't look so unbelieving. It means I can afford to tear myself away from my view of the pigsties and go out on parole, as much as I like and you'll put up with.

Writing is what happens when the words in your head are overpowered by the words in your heart."J.L. Bond

J.L. Bond

The blank page, otherwise known as the vast playground of the writer's imagination." J.L. Bond

J.L. Bond

Writin’ Is Fightin'!

He, the true writer, is the department store dummy at the very center of the whole establishment, the one left alone on display all night, a price tag stapled to every piece of clothing they’ve yanked onto him, binoculars and frog flippers included. He is the neutral, generic human form, the gray center who must always assume disguises — in order to be seen and, therefore, to feel himself.

You don't have to take it out on my typewrite ya' know. It's not the machine's fault that you can't write. It's a sin to do that to a good machine.

Write for impact first, money second. If you do it the other way around, you’ll end up with less of either.

Don Roff

Remove the comma, replace the comma, remove the comma, replace the comma...

Writing is a solitary occupation, except for Presidential speeches and sitcoms.

The closer one gets to the speed of light, the slower time travels. The exact thing is true when completing a book.

Two characters and sexy banter do not a book make, damn it.

When you have something meaningful to say, you lose your desire for much grammar; for only in the incompetence of words does one seek the redeeming power of vocabulary.

King Samuel Benson

The writer doesn’t want to disclose or instruct or advocate, he wants to transmute and disturb. He cherishes the mystery, he cares for it like a fugitive in his cabin, his cave. He doesn’t want to talk it into giving itself up. He would never turn it in to the authorities, the mass mind. The writer is somewhat of a fugitive himself, actually. He wants to escape his time, the obligations of his time, and, by writing, transcendthem. The writer does not like to follow orders, not even the orders of his own organizing intellect.

Do you know why I believe in the novel? It’s a democratic shout. Anybody can write a great novel, one great novel, almost any amateur off the street. I believe this, George. Some nameless drudge, some desperado with barely a nurtured dream can sit down and find his voice and luck out and do it. Something so angelic it makes your jaw hang open. The spray of talent, the spray of ideas. One thing unlike another, one voice unlike the next. Ambiguities, contradictions, whispers, hints. And this is what you want to destroy.

It is a wise writer who knows his own subconscious.

He has always admired writers who each day begin a journey towards the unknown and who nevertheless spend all their time sitting in a room".

Enrique Vila-Matas

When a writer doesn’t show his face, he becomes a local symptom of God’s famous reluctance to appear.

As far as you are able to gather from hints scattered through these letters, Apocryphal Power, riven by internecine battles and eluding the control of its founder, Ermes Marana, has broken into two groups: a sect of enlightened followers of the Archangel of Light and a sect of nihilist followers of the Archon of Shadow. The former are convinced that among the false books flooding the world they can track down the few that bear a truth perhaps extrahuman or extraterrestrial. The latter believe that only counterfeiting, mystification, intentional falsehood can represent absolute value in a book, a truth not contaminated by the dominant pseudo truths.

Writer's a lovers quarrel - encounters breathe the quill...

Neisha Alana Haora

If a writer manages to be fascinating about his own novels, then there are only two possibilities: either he is merely voicing out loud what he wrote in his book, and he is a parrot; or he is explaining interesting things that he didn't discuss in his book, in which case the book in question is a failure since it does not live up to its claims.

Amélie Nothomb

He would write and write. He would make wonderful things happen. Some of it would be true. All of it would be true. Most of it would be true.

The mist after rain, uninterrupted rainfall on rooftops, pitter-patter intellect. The thoughts I leave behind like footsteps.

Chris Campanioni

You will not publish 100% of the books you don’t write.

M. Kirin

There is no ceremony, no initiation ritual, no secret hand-shake. All you need to be a writer is to write.

M. Kirin

When the silence comes and the echoes of former life fades, what will have mattered will be, one made the world a bit better ‘fore their de-berthing. Writing, needs none, but the initial push of heart and passion, enabling the story to take flight, doves to clouds, clouds to doves, then to faithfully follow its unfolding through the quill transcribed, this self-perpetuating engine once born, with no further fuel required, to lift others in the journey, through time, for all time.

You have to be in your middle thirties before you have anything worth saying.

Publish a book before you’re too old to read it without glasses.

Writing with a biro is the emotional equivalent of giving your loved one a plastic rose on Valentine’s Day.

Proper writing ink comes in a bottle, can be swirled like brandy in a glass, and smells like apple blossom after rain.

When I write, I can be hear. And known. But nobody has to look at me. Nobody has to see me at all.

Norah Raleigh Baskin

Over the years I've come to realize that in a broad sense I'm interested in power and politics. I'm interested in how individuals try to eke out some wiggle room within these large institutions . . . how they eke out some measure of freedom and personal space and integrity . . . trying to negotiate their way toward some sort of, if not happiness, then at least accommodation or peace with themselves.

It's an important thing and a necessary thing as a writer to always be reaching outside of yourself. They say write what you know. But what you know is rarely enough. You need to know more. But you've got to approach it with a lot of respect and humility. You owe it to the people and experience you're trying to understand. It's not a casual thing.

. . . any one episode, or even moment, in a person’s life is so complex, with so many layers of past and present, desire and indifference, drift and drive, consciousness and unconsciousness, that language is the best means we’ve found of approaching that kind of complexity.

I practiced law for five years and that gives you insight into a certain mind-set that maybe a lot of writers haven’t had firsthand access to. There’s an almost casual cruelty, a very low level of overall awareness, but sometimes there’s also knowledge that real damage is being done—this attitude of “Oh, what the hell,” this kind of moral cognitive dissonance. These are people who have never missed a meal. It’s an unknowingness, an unawareness . . . Many people were operating from a very narrow range of experience, and yet they had complete faith in it. Their way was the correct way, the only way. They had virtually no awareness of any other way of life except in terms of demonizing things . . . It’s an extremely blindered experience of the world.

The way my mind flows is conducive to self-learning. I do better obsessively studying various writers and writing techniques and writing theories on my own than I would do if I were in a classroom and the professor was telling me (and 20 other students at the same time) to study these same things. Even if the professor told us to study the exact things I would otherwise be studying on my own, I would have a much harder time applying myself and focusing and taking anything the professor assigned seriously. That’s just the way my mind works–my fear of groupthink, my desire toward (passion for, obsession with) uniqueness and originality and the creation of new things. By studying things on my own, I might arrive at the exact same place others arrive at as they study amongst their peers–but to my mind, this would be okay. I at least would have arrived there (at those thoughts, at those techniques, at those ideas and approaches and whatever-else-have-you) on my own. And that’s just me.

Whenever people ask me, "How are your books doing?" or, "How is your book doing?" I just say, "It's okay." I mean, what am I supposed to say? I'm a writer; that means I write because I need to write, because that's how I breathe and that's how I bleed. I'm not an author; I'm a writer. Even when I don't want to write; I can't stop! So, how are my books doing? The hell I know! The moment after I publish one book, I'm writing another one! I don't know how my books are doing! I just know that I'm writing them! I'm a writer, I'm a writer. I'm not an author.

Makebelieve is a writer's best friend.

I don’t know’,” he said. “Those three words from a willing soul are the start of a grand and magnificent voyage.” And with that he began a discourse that lasted for several weeks, covering scene-setting, establishing conflict, plot twists, and first- and third-person narration. [ I learned in these rapid-fire mini-dissertations that like most literature lovers I would come to know, Henry was a book snob. He assumed that if a current author was popular and widely enjoyed, then he or she had no merit. He made a few exceptions, such as Kurt Vonnegut, although that was mostly because Vonnegut lived on Cape Cod and so he probably had some merits as a human being, if not as a writer. I think that the way Henry saw it was that he was not being a snob. In fact I would venture that in his view of things, snobbery had nothing to do with it. Rather, it was a matter of standards. It was bout quality in the author’s craftsmanship.

John William Tuohy

A story is a part of the writer's soul, told to the world.

T.A. Uner

As with writing by candlelight, one’s greatest ideas come from ‘the flickering’ between darkness and light.

Committing your thoughts and feelings to words is like putting your soul on a plate and hoping the diners will like what they eat.

Writing is like driving a car at night. You can only see as far as your headlights, but you can make the whole trip that way.

Often as writers, we are surprised by what we learn about ourselves. It runs counter to what we’ve thought about who we are. But it is closer to the truth.

Through the act of writing, a writer learns more about himself than he could ever imagine.

The beginning of every writing session is like setting down a road unknown.

When I told my teachers I wanted to be a writer, alot of them encouraged me to lower my expectations and to be more realistic. So I rode away on my magical, winged horse, spraying faerie dust behind me, and laughing manically as I went.

The truth seems to be, however, that, when he casts his leaves forth upon the wind, the author addresses, not the many who will fling aside his volume, or never take it up, but the few who will understand him, better than most of his schoolmates and lifemates. Some authors, indeed, do far more than this, and indulge themselves in such confidential depths of revelation as could fittingly be addressed, only and exclusively, to the one heart and mind of perfect sympathy; as if the printed book, thrown at large on the wide world, were certain to find out the divided segment of the writer's own nature, and complete his circle of existence by bringing him into communion with it.

Nathaniel Hawthorne

If one were to include one-tenth of the remarkable people one knows, in one's fiction, no one would accept it. Real life remains one's private menagerie.

Sylvia Townsend Warner

Far and away the greatest menace to the writer—any writer, beginning or otherwise—is the reader. The reader is, after all, a kind of silent partner in this whole business of writing, and a work of fiction is surely incomplete if it is never read. The reader is, in fact, the writer's only unrelenting, genuine enemy. He has everything on his side; all he has to do, after all, is shut his eyes, and any work of fiction becomes meaningless. Moreover, a reader has an advantage over a beginning writer in not being a beginning reader; before he takes up a story to read it, he can be presumed to have read everything from Shakespeare to Jack Kerouac. No matter whether he reads a story in manuscript as a great personal favor, or opens a magazine, or—kindest of all—goes into a bookstore and pays good money for a book, he is still an enemy to be defeated with any kind of dirty fighting that comes to the writer's mind.

Shirley Jackson

Writing every book, the writer must solve two problems: Can it be done? and, Can I do it? Every book has an intrinsic impossibility, which its writer discovers as soon as his first excitement dwindles.

Write if you will: but write about the world as it is and as you think it ought to be and must be—if there is to be a world. Write about all the things that men have written about since the beginning of writing and talking—but write to a point. Work hard at it, care about it. Write about our people: tell their story. You have something glorious to draw on begging for attention. Don’t pass it up. Don’t pass it up. Use it. Good luck to you. The Nation needs your gifts. Lorraine Hansberry speech, “To Be Young, Gifted, and Black,” given to Readers Digest/United Negro College Fund creative writing contest winners, NYC, May 1, 1964.

Lorraine Hansberry

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