On Writing Quotes

V.S. Pritchett's definition of a short story is 'something glimpsed from the corner of the eye, in passing.' Notice the 'glimpse' part of this. First the glimpse. Then the glimpse gives life, turned into something that illuminates the moment and may, if we're lucky -- that word again -- have even further ranging consequences and meaning. The short story writer's task is to invest the glimpse with all that is in his power. He'll bring his intelligence and literary skill to bear (his talent), his sense of proportion and sense of the fitness of things: of how things out there really are and how he sees those things -- like no one else sees them. And this is done through the use of clear and specific language, language used so as to bring to life the details that will light up the story for the reader. For the details to be concrete and convey meaning, the language must be accurate and precisely given. The words can be so precise they may even sound flat, but they can still carry; if used right they can hit all the notes.

I write one page of masterpiece to ninety-one pages of shit. I try to put the shit in the wastebasket.

Learn to enjoy this tidying process. I don't like to write; I like to have written. But I love to rewrite. I especially like to cut: to press the DELETE key and see an unnecessary word or phrase or sentence vanish into the electricity. I like to replace a humdrum word with one that has more precision or color. I like to strengthen the transition between one sentence and another. I like to rephrase a drab sentence to give it a more pleasing rhythm or a more graceful musical line. With every small refinement I feel that I'm coming nearer to where I would like to arrive, and when I finally get there I know it was the rewriting, not the writing, that wont the game.

Are you imperfect, romantically irrational, ridiculously fearless, and utterly illogical? You're my ideal reader, friend, partner. I'm your fan.

If you think there is no time to write now, there would never be.

There is a muse, but he’s not going to come fluttering down into your writing room and scatter creative fairy-dust all over your typewriter or computer station. He lives in the ground. He’s a basement guy. You have to descend to his level, and once you get down there you have to furnish an apartment for him to live in. You have to do all the grunt labor, in other words, while the muse sits and smokes cigars and admires his bowling trophies and pretends to ignore you.

The writer's only responsibility is to his art. He will be completely ruthless if he is a good one. He has a dream. It anguishes him so much he must get rid of it. He has no peace until then. Everything goes by the board: honor, pride, decency, security, happiness, all, to get the book written. If a writer has to rob his mother, he will not hesitate; the 'Ode on a Grecian Urn' is worth any number of old ladies.

When someone is mean to me, I just make them a victim in my next book.

I spent days and nights staring at the blank page, searching the deepest corners of my mind: who have I been, what have I seen, what did I learn? I thought about all the nights I've spent outside, all the times I laid down to cry and how I took a deep breath every morning and decided to simply go on. Because what else is there to do? Decide that this is it? I quit, I'm done? Oh if I could find words to justify those feelings I've carried. I could write the thickest of books with explosions of emotions from a young girl's lost heart. I could make you see, make you hear, make you feel, at least a tiny fragment of what's out there.

The one thing which seems to me quite impossible is to take into consideration the kind of book one is expected to write; surely one can only write the book that is there to be written., 8 September 1935)

How would you start to write a poem? How would you put together a series of words for its first line—how would you know which words to choose? When you read a poem, every word seemed so perfect that it had to have been predestined—well, a good poem.

I write because I am a writer, not because I want to get anything out of it.

Whenever I'm asked what advice I have for young writers, I always say that the first thing is to read, and to read a lot. The second thing is to write. And the third thing, which I think is absolutely vital, is to tell stories and listen closely to the stories you're being told.

Because as any writer will tell you, an IDEA for a book is like falling in love, it’s all wild emotion and headlong rush, but the ACTUAL ACT of writing a book is like building a relationship: it is joyous, slow, fragile, frustrating, exhilarating, painstaking, exhausting, worth it.

And there was that poor sucker Flaubert rolling around on his floor for three days looking for the right word.

MYTH: Beautiful Writing Trumps AllREALITY: Storytelling Trumps Beautiful Writing, Every Time

Giving a reader a sex scene that is only half right is like giving her half of a kitten. It is not half as cute as a whole kitten; it is a bloody, godawful mess.

Any word you have to hunt for in a thesaurus is the wrong word. There are no exceptions to this rule.

Words writers choose are like a glimmering reflection into our souls.

A novel examines not reality but existence. And existence is not what has occurred, existence is the realm of human possibilities, everything that man can become, everything he's capable of. Novelists draw up the map of existence by discovering this or that human possibilit. But again, to exist mean: 'being-in-the-world.' Thus both the character and his world must be understood as possibilities.

If you are a singer, you must sing. If you are a dancer, you must dance. If you are a writer, you must write. Don’t suffocate your heart.

If you don't know what those old occupations were, how they were done, and how they interacted with the passersby, you're not prepared to write a historical novel. A historical figure doesn't pass through a blank countryside. That means you, the novelist, must learn by research what the whole place was like in those times. As much as you can, you must be like someone who has lived there, because you're going to be not just the storyteller but also the tour guide taking your readers through the past.

O for a Muse of fire, that would ascendThe brightest heaven of invention!

Create a world in front of your readers where they can taste, smell, touch, hear, see, and move. Else they are likely going to move on to another book.

Words are powerful. Words make a difference. They can create and destroy. They can open doors and close doors. Words can create illusion or magic, love or destruction. … All those things.

Cliches are the viruses that infect your writing with diseases.

Every line of serious work that I have written since 1936 has been written, directly or indirectly, against totalitarianism and for democratic socialism, as I understand it. It seems to me nonsense, in a period like our own, to think that one can avoid writing of such subjects. Everyone writes of them in one guise or another. It is simply a question of which side one takes and what approach one follows. And the more one is conscious of one's political bias, the more chance one has of acting politically without sacrificing one's aesthetic and intellectual integrity.

My writing, it’s my way of making sense of everything. My way to feel whole. May I never be complete and may I never feel content – please, let me always have the need, always have the urge to write. 

Either give it your all or don't even try!

my own definition of bad historical fiction hits these points:It fails to transport the reader to a former time.It fails to put the reader in another place.It fails to bring characters to life.It fails to make the reader shiver, sweat, sniffle, sneer, snarl, weep, laugh, gag, ache, hunger, wince, yearn, lust, lose sleep, empathize, hate, or need to go potty.It seems dubious.It has characters who seem too good or too bad to be true.It has anachronisms.It has clichés and stereotypes.Its writing style distracts the reader from the narrative.It takes historic license with times and facts.It is pointless.It is carelessly written.It is easy to put down.

The most important things to remember about back story are that (a) everyone has a history and (b) most of it isn’t very interesting.

Story is honorable and trustworthy; plot is shifty, and best kept under house arrest.

You must understand that when you are writing a novel you are not making anything up. It's all there and you just have to find it.

What is hell to a writer? Hell is being too busy to find the time to write or being unable to find the inspiration. Hell is suddenly finding the words but being away from your notebook or typewriter. Hell is when the verses slip away through your fingers and they never return again.