WRITING QUOTES XXVI

quotations about writing

I don't think I'm cut out for a job where you have to look professionally tidy. I prefer working in my pajamas and taking showers after lunch.

KELLY LINK

"Words by Flashlight", Sybil's Garage, June 7, 2006

Tags: Kelly Link


Writing is nothing more than a guided dream.

JORGE LUIS BORGES

preface, Dr. Brodie's Report

Tags: Jorge Luis Borges


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

Tags: Kelly Link


I couldn't imagine, and I don't say this with any pride, but I really couldn't imagine writing without a desperate deadline.

HUNTER S. THOMPSON

The Paris Review, fall 2000


In the mental disturbance and effort of writing, what sustains you is the certainty that on every page there is something left unsaid.

CESARE PAVESE

This Business of Living, May 4, 1942

Tags: Cesare Pavese


I'm a pretty autobiographical writer. I like a high ratio of true events to made-up events or rearranged events. I've always felt that if you think you can find a way to tell the truth and keep the fictional flux going, it's at least a good idea to try, because very often the truth is more interesting than the posed picture, the tableau. The messiness of truth is a useful corrective.

NICHOLSON BAKER

The Paris Review, fall 2011

Tags: Nicholson Baker


Be a mere assistant to your unconscious. Do only half the work. The rest will do itself.

JEAN COCTEAU

Diary of an Unknown

Tags: Jean Cocteau


The most common human act that writing a novel resembles is lying. The working novelist lies daily, very complexly, and at great length.

WILLIAM GIBSON

Twitter post, May 31, 2009

Tags: William Gibson


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


One never knows enough about characters in real life to put them into novels. One gets started and then, suddenly, one can not remember what toothpaste they use; what are their views on interior decoration, and one is stuck utterly. No, major characters emerge; minor ones may be photographed.

GRAHAM GREENE

The Paris Review, autumn 1953


It's a principle of mine to come into the story as late as possible, and to tell it as fast as you can.

JOHN LE CARRÉ

interview, The Paris Review, summer 1997

Tags: John le Carré


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

Tags: Tanith Lee


Write. Don't talk about writing. Don't tell me about your wonderful story ideas. Don't give me a bunch of "somedays." Plant your ass and scribble, type, keyboard. If you have any talent at all, it will leak out despite your failure to pay attention in English.

GLEN COOK

interview, SF Site, September 2005


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

Tags: Isaac Asimov


Nothing is more clear than that every plot, worth the name, must be elaborated to its dénouement before any thing be attempted with the pen. It is only with the dénouement constantly in view that we can give a plot its indispensable air of consequence, or causation, by making the incidents, and especially the tone at all points, tend to the development of the intention.

EDGAR ALLAN POE

"The Philosophy of Composition"

Tags: Edgar Allan Poe


The greater the length, the more beautiful will the piece be by reason of its size, provided that the whole be perspicuous.

ARISTOTLE

Poetics

Tags: Aristotle


I think any start has to be a false start because really there's no way to start. You just have to force yourself to sit down and turn off the quality censor. And you have to keep the censor off, or you start second-guessing every other sentence. Sometimes the suspicion of a possible false start comes through, and you have to suppress it to keep writing. But it gets more persistent. And the moment you know it's really a false start is when you start ... it's hard to put into words.

ELIF BATUMAN

The Paris Review, winter 2012


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

Tags: Philip Roth


Writing a killer first line to a novel is an art form in which there are a few masters and a great many apprentices.

CHUCK WENDIG

"25 Things to Know about Writing the First Chapter of Your Novel", Terrible Minds


I believe the most intricate plot won't matter much to readers if they don't care about the characters, especially in a series. So I try to focus hard on making each character, whether villain or hero, have an interesting flaw that readers can relate to.

JEFF ABBOTT

Publisher's Weekly, May 30, 2011