Writing Quotes - Page 537

Let us guess that whenever we read a sentence & like it, we unconsciously store it away in our model-chamber; & it goes, with the myriad of its fellows, to the building, brick by brick, of the eventual edifice which we call our style.

I never write "metropolis" for seven cents when I can write "city" and get paid the same.

There are some books that refuse to be written. They stand their ground year after year and will not be persuaded. It isn't because the book is not there and worth being written -- it is only because the right form of the story does not present itself. There is only one right form for a story and if you fail to find that form the story will not tell itself.

there was no crime in unconscious plagiarism; that I committed it everyday, that he committed it everyday, that every man alive on earth who writes or speaks commits it every day and not merely once or twice but every time he open his mouth… there is nothing of our own in it except some slight change born of our temperament, character, environment, teachings and associations

An average English word is four letters and a half. By hard, honest labor I've dug all the large words out of my vocabulary and shaved it down till the average is three and a half... I never write metropolis for seven cents, because I can get the same money for city. I never write policeman, because I can get the same price for cop.... I never write valetudinarian at all, for not even hunger and wretchedness can humble me to the point where I will do a word like that for seven cents; I wouldn't do it for fifteen.

People really want to believe that there is no fiction. I think they find it much easier to imagine that novelists are writing memoirs, writing about their lives, because it's difficult to conceive that there's a great imaginary life in which you can participate.

Throughout my life, there's just periods when I write and periods when I don't. I don't feel like anything's really blocked. "Writer's block" sounds so dramatic and worrisome, and I don't worry about it. I know deep down that I'm a writer, and it's just a matter of time until it comes back, and when it does, it'll be good like it's always been.

The one thing you have to do if you write a book is put yourself in someone else's shoes. The reader's shoes. You've got to entertain them.

Novelists have to love humanity to write anything worthwhile. Poets have to love themselves.

I write because I'm unhappy. I write because it's a way of fighting unhappiness.

One piece of advice can be universally handed out, and it applies equally to speaking, understanding, reading, and writing. If in the course of any of these language activities, you run across words whose meaning or use baffles you, don't by-pass them. Look them up in the dictionary and familiarize yourself with them.

Characters more or less present themselves to me. I don't know their origins. I think if I did, if I seemed to myself to fabricate them, I could not induce suspension of disbelief in myself in the way writing fiction requires.

Never, ever condescend to the reader. Assume you are writing for someone better and smarter than you are. This will protect you from conventionalism, faddishness, and cliché.

One function of the imagination in autobiographical writing is to allow the writer to try out different versions of the self.

I have no one else involved in the writing process. I would hate to feel that I was going into the studio with something wishy-washy and not done. It's because I'm a control freak, so I want to know that everything is sorted and what's going to come out the other end, obviously with a bit of leeway.

There is nothing so inconvenient in this world as an absolutely truthful person, who can both speak and write, and has the courage of his convictions. One can always arrange matters with liars ... But with the man or woman who holds truth dearer than life, and honor more valuable than advancement, there is nothing to be done, now that governments cannot insist on the hemlock-cure, as in the case of Socrates.

You talk to people and they seem really nice and then you read what they write and it's very disillusioning. You have to deal with how people let you down in terms of that. Because I think I'm basically a nice person and I think I'm a real person, and a lot of people aren't.

It's hard to be someone that people talk about and write about, you know? They don't know me.

I started writing poetry when I was six. I had this teacher who didn't believe the poems I'd bring in were mine because they were dark and sad. But I wrote about what I experienced in my childhood.

Writing that gets rewritten as the earth moves. If you look at the sky that way, it's this massive shifting poem, or maybe a letter, first written by one author, and then, when the earth moves, annotated by another. So I stare and stare until, one day, I can read it.

I would've been able to write anything about mental-health crises had I not felt good.

Suppose that a person writes what she must. That is only the first step of becoming a writer. The work must survive the moment of creation. It must get out to an audience. She or he must dare to show the work. She must risk ridicule, misunderstanding, scandal, condemnation, & what's often worse, none of the above: silence. No attention at all.

We speak naturally but spend all our lives trying to write naturally.

In passing, we should here recognize the difficulties presented by the idea of 'fit' and 'unfit.' Who is to decide this question? The grosser, the more obvious, the undeniably feeble-minded should, indeed, not only be discouraged but prevented from propagating their kind. But among the writings of the representative Eugenists [sic], one cannot ignore the distinct middle-class bias that prevails.

Wonder is very important, because if we never wondered, we would never get to the point of asking questions. Yet wonder may lead people to write poetry or to paint pictures or to pray, as well as to ask the kinds of questions about the world and themselves that can be answered by science.