quotations about writing
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
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
I never quite know when I'm not writing. Sometimes my wife comes up to me at a party and says, "Dammit, Thurber, stop writing." She usually catches me in the middle of a paragraph. Or my daughter will look up from the dinner table and ask, "Is he sick?" "No," my wife says, "he's writing something." I have to do it that way on account of my eyes. I still write occasionally--in the proper sense of the word--using black crayon on yellow paper and getting perhaps twenty words to the page. My usual method, though, is to spend the mornings turning over the text in my mind. Then in the afternoon, between two and five, I call in a secretary and dictate to her. I can do about two thousand words. It took me about ten years to learn.
JAMES THURBER
The Paris Review, fall 1955
After you have written a thing and you reread it, there is always the temptation to fix it up, to improve it, to remove its poison, blunt its sting.
JEAN COCTEAU
The Paris Review, summer-fall, 1964
Much modern prose is praised for its terseness, its scrupulous avoidance of curlicue, etcetera. But I don't feel the deeper rhythm there. I don't think these writers are being terse out of choice. I think they are being terse because it's the only way they can write.
MARTIN AMIS
The Paris Review, spring 1998
My plots are always rudimentary. Whatever I've accomplished certainly does not depend on my virtuosity with plot. Generally I don't even have a plot. What happens is that my characters engage in an action, and out of that action little bits of plot sometimes adhere to the narrative. I never have to worry about lifting a plot, because I don't conceive of a book that way.
NORMAN MAILER
The Paris Review, winter-spring 1964
Now, writing every day, and being paid for it and encouraged to do it, it was as if, in the midst of the clichéd dark and stormy night, I found the magical inn, its windows golden lit, and Summer was due to start tomorrow. I can only work at one thing well. Deprive me of that, and my "back-up plan," even now, will be the empty, stormy, darkened heath -- where, incidentally, even unpublished, somehow I'll still be writing.
TANITH LEE
interview, Intergalactic Medicine Show
You have an idea in mind of what you want to achieve when you sit down to write something. It takes many years to accept that you will always fall short of that. Maybe now I can write the book that I might have had in mind five or twenty years ago. You're always lagging behind your best ideas.
TOBIAS WOLFF
The Missouri Review, 2003
The same common-sense which makes an author write good things, makes him dread they are not good enough to deserve reading.
JEAN DE LA BRUYÈRE
"Of Works of the Mind", Les Caractères
You must keep sending work out; you must never let a manuscript do nothing but eat its head off in a drawer. You send that work out again and again, while you're working on another one. If you have talent, you will receive some measure of success -- but only if you persist.
ISAAC ASIMOV
attributed, How to Become a Famous Writer Before You're Dead
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
The greater the length, the more beautiful will the piece be by reason of its size, provided that the whole be perspicuous.
ARISTOTLE
Poetics
There is no ideal length, but you develop a little interior gauge that tells you whether or not you're supporting the house or detracting from it. When a piece gets too long, the tension goes out of it. That word--tension--has an animal insistence for me. A piece of writing rises and falls with tension. The writer holds one end of the rope and the reader holds the other end--is the rope slack, or is it tight? Does it matter to the reader what the next sentence is going to be?
JOHN JEREMIAH SULLIVAN
"Everything is more complicated than you think", The Economist, November 14, 2011
Writing is a weird thing because we can read, we know how to write a sentence. It's not like a trumpet where you have to get some skill before you can even produce a sound. It's misleading because it's hard to make stories. It seems like it should be easy to do but it's not. The more you write, the better you're going to get. Write and write and write. Try not to be hard on yourself.
GAIL CARSON LEVINE
interview, RIF Reading Planet
I turn sentences around. That's my life. I write a sentence and then I turn it around. Then I look at it and turn it around again.
PHILIP ROTH
Ghost Writer
I write fiction and I'm told it�s autobiography, I write autobiography and I'm told it's fiction, so since I'm so dim and they're so smart, let them decide what it is or it isn't.
PHILIP ROTH
Deception: A Novel
Occasionally, I'll dream I'm in the factory. That will help me write. Not creatively, but more like a prod. I don't want to go back there.
ROBERT REED
Lincoln Journal Star, January 11, 2004
After a while the business end of writing takes too much of the writing time. Better to pay someone ten percent and find that you're still more than ten percent ahead in the end. Which is true. My present agent says that he always feels that a good agent during the course of a year should earn back for his client at least the ten percent he takes by way of commission, so the client's really nothing out. And what he should ideally do is make him more money than the ten percent.
ROGER ZELAZNY
interview, Phlogiston, 1995
The responsibility of the writer is to be a sort of demonic social critic -- to present the world and people in it as he sees it and say, "Do you like it? If you don't like it, change it."
EDWARD ALBEE
interview with Digby Diehl, 1963
I don't particularly care about having [my characters] talk realistically, that doesn't mean very much to me. Actually, a lot of people speak more articulately than some critics think, but before the 20th century it really didn't occur to many writers that their language had to be the language of everyday speech. When Wordsworth first considered that in poetry, it was considered very much of a shocker. And although I'm delighted to have things in ordinary speech, it's not what I'm trying to perform myself at all: I want my characters to get their ideas across, and I want them to be articulate.
LOUIS AUCHINCLOSS
interview, Bomb Magazine, fall 1997