On Writing Quotes - Page 3

It is impossible to discourage the real writers - they don't give a damn what you say, they're going to write.

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 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.

Any writer who puts his words and thoughts out into the public is going to be criticized.

It's not what you lift, it's where you carry it.

I have stolen ideas from every book I have ever read.

I know, not everyone will like what I write, but writing is not about trying to please everybody.

Don’t break the rules when you haven’t fully figured them out yet.

...but every person who does serious time with a keyboard is attempting to translate his version of the world into words so that he might be understood.

The last thing one discovers in composing a work is what to put first.

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.

Easy reading is damn hard writing.

I hope that I capture something in my work that is about the elusive, the magical and powerful and the transformative. The writing in itself is transformative for me.

There may be a Nurse Ratched-like listing of things that must be done right this moment: foods that must come out of the freezer, appointments that must be canceled or made, hairs that must be tweezed. But you hold an imaginary gun to your head and make yourself stay at the desk.

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.

Fill your paper with the breathings of your heart.

Don’t interrupt when your characters take a flight of their own.

A writer gets to live yet another life every time she creates a new story.

Most historical accounts were written by fallible scholars, using incomplete or biased resource materials; written through the scholars' own conscious or unconscious predilections; published by textbook or printing companies that have a stake in maintaining a certain set of beliefs; subtly influenced by entities of government and society — national administrations, state education departments, local school boards, etcetera — that also wish to maintain certain sets of beliefs. To be blunt about it, much of the history of many countries and states is based on delusion, propaganda, misinformation, and omission.

One of the few things I know about writing is this:spend it all, shoot it, play it, lose it, right away, every time. Do not hoard what seems good for a later place in the book, or for another book; give it, give it all, give it now. The impulse to save something good for a better place later is a signal to spend it now. Something more will arise later, something better. These things fill from behind, from beneath, like well water.

Dreams are good at playing with your memory. They love leaving no trace behind and hate to show up once again in the morning.

Cliches are the viruses that infect your writing with diseases.