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Quotations about writing
Note that not all quotations have been tagged, so the Search function may find additional quotations on this topic.
I really love language; it allows us to explain the pain and the glory, the nuances and the delicacies, of our existence. Most of all, it allows us to laugh. We need language.
Maya Angelou (1928-2014) American poet, memoirist, activist [b. Marguerite Ann Johnson]
“The Art of Fiction,” Paris Review, #116, Interview with George Plimpton (1990)
Language exerts hidden power, like the moon on the tides.
Rita Mae Brown (b. 1944) American author, playwright
Starting from Scratch, Part 3 “The Work,” “The Passive Voice, or The Secret Agent” (1989)
(Source)
I look at some of the great novelists, and I think the reason they are great is that they’re telling the truth. The fact is they’re using made-up names, made-up people, made-up places, and made-up times, but they’’re telling the truth about the human being — what we are capable of, what makes us lose, laugh, weep, fall down, and gnash our teeth and wring our hands and kill each other and love each other.
Maya Angelou (1928-2014) American poet, memoirist, activist [b. Marguerite Ann Johnson]
“The Art of Fiction,” Paris Review, #116, Interview with George Plimpton (1990)
(Source)
Persons attempting to find a motive in this narrative will be prosecuted; persons attempting to find a moral in it will be banished; persons attempting to find a plot in it will be shot.
— By Order of the Author
Mark Twain (1835-1910) American writer [pseud. of Samuel Clemens]
The Adventures of Huckleberry Finn, “Notice” (1884)
(Source)
Remember, too, that you have the right to make mistakes. Exercise it. Good judgment comes from experience, and often experience comes from bad judgment.
Colors fade, temples crumble, empires fall, but wise words endure.
Edward Thorndike (1874-1949) American psychologist, educator
(Attributed)
Man is a talking animal and he will always let himself be swayed by the power of the word.
Simone de Beauvoir (1908-1986) French author, existentialist philosopher, feminist theorist
Les Belles Images (1966)
(Source)
I’m convinced if I keep going one day I will write something decent. On very bad days I will observe that I must have written good things in the past, which means that I’ve lost it. But normally I just assume that I don’t have it. The gulf between the thing I set out to make in my head and the sad, lumpy thing that emerges into reality is huge and distant and I just wish that I could get them closer.
There’s nothing like studying the bestseller lists of bygone years for teaching an author humility. You’ve heard of the ones that got filmed, normally. Mostly you realize that today’s bestsellers are tomorrow’s forgotten things.
My poems are naughty, but my life is pure.
[Lasciva est nobis pagina, vita proba.]
Martial (AD c.39-c.103) Spanish Roman poet, satirist, epigrammatist [Marcus Valerius Martialis]
Epigrams [Epigrammata], Book 1, poem 4, l. 8
(Source)
Alt. trans.: "Wanton is my page; my life is good." [tr. Ker (1919)]
Alt. trans.: "My page indulges in freedoms, but my life is pure." [tr. Bohn (1859)]
All books are either dreams or swords,
You can cut, or you can drug, with words.
Why do I write? I guess that’s been asked of every writer. I don’t know. It isn’t any massive compulsion. I don’t feel, you know, God dictated that I should write. You know, thunder rends the sky and a bony finger comes down from the clouds and says, “You. You write. You’re the anointed.” I never felt that. I suppose it’s part compulsion, part a channel for what your brain is churning up.
Rod Serling (1924-1975) American screenwriter, playwright, television producer, narrator
“Rod Serling: The Facts of Life,” Interview with Linda Brevelle (4 Mar 1975)
(Source)
There are millions of ways to not be writing.
Rod Serling (1924-1975) American screenwriter, playwright, television producer, narrator
“Rod Serling: The Facts of Life,” Interview with Linda Brevelle (4 Mar 1975)
(Source)
The writer … when he’s rejected, that paper is rejected, in a sense, a sizable fragment of the writer is rejected as well. It’s a piece of himself that’s being turned down. And how often can this happen before suddenly you begin to question your own worth and your own value? And even worse, fundamentally, your own talent?
Rod Serling (1924-1975) American screenwriter, playwright, television producer, narrator
“Rod Serling: The Facts of Life,” Interview with Linda Brevelle (4 Mar 1975)
(Source)
I suppose we think euphemistically that all writers write because they have something to say that is truthful and honest and pointed and important. And I suppose I subscribe to that, too. But God knows when I look back over thirty years of professional writing, I’m hard-pressed to come up with anything that’s important. Some things are literate, some things are interesting, some things are classy, but very damn little is important.
Rod Serling (1924-1975) American screenwriter, playwright, television producer, narrator
“Rod Serling: The Facts of Life,” Interview with Linda Brevelle (4 Mar 1975)
(Source)
A scrupulous writer, in every sentence that he writes, will ask himself at least four questions, thus: What am I trying to say? What words will express it? What image or idiom will make it clearer? Is this image fresh enough to have an effect? And he will probably ask himself two more: Could I put it more shortly? Have I said anything that is avoidably ugly?
But you are not obliged to go to all this trouble. You can shirk it by simply throwing your mind open and letting the ready-made phrases come crowding in. The will construct your sentences for you — even think your thoughts for you, to a certain extent — and at need they will perform the important service of partially concealing your meaning even from yourself.
It is at this point that the special connection between politics and the debasement of language becomes clear.
George Orwell (1903-1950) English writer [pseud. of Eric Arthur Blair]
“Politics and the English Language,” Horizon (Apr 1946)
(Source)
Coming up with ideas is the easiest thing on earth. Putting them down is the hardest.
Rod Serling (1924-1975) American screenwriter, playwright, television producer, narrator
“Writing for Television – Conversations with Rod Serling,” Ithaca College (1972)
(Source)
One can often be in doubt about the effect of a word or a phrase, and one needs rules that one can rely on when instinct fails. I think the following rules will cover most cases:
Never use a metaphor, simile, or other figure of speech which you are used to seeing in print.
Never use a long word where a short one will do.
If it is possible to cut a word out, always cut it out.
Never use the passive where you can use the active.
Never use a foreign phrase, a scientific word, or a jargon word if you can think of an everyday English equivalent.
Break any of these rules sooner than say anything outright barbarous.
George Orwell (1903-1950) English writer [pseud. of Eric Arthur Blair]
“Politics and the English Language,” Horizon (Apr 1946)
(Source)
Those who know they are profound strive for clarity. Those who would like to seem profound strive for obscurity. For the crowd believes that if it cannot see to the bottom of something it must be profound. It is timid and dislikes going into the water.
Friedrich Nietzsche (1844-1900) German philosopher and poet
The Gay Science [Die fröhliche Wissenschaft] (1882)
A man may take to drink because he feels himself to be a failure, and then fail all the more completely because he drinks. It is rather the same thing that is happening to the English language. It becomes ugly and inaccurate because our thoughts are foolish, but the slovenliness of our language makes it easier for us to have foolish thoughts.
George Orwell (1903-1950) English writer [pseud. of Eric Arthur Blair]
“Politics and the English Language,” Horizon (Apr 1946)
(Source)
You advise me, too, not to stray far from the ground of experience, as I become weak when I enter the region of fiction; and you say, “real experience is perennially interesting, and to all men.” I feel that this also is true; but, dear Sir, is not the real experience of each individual very limited? And, if a writer dwells upon that solely or principally, is he not in danger of repeating himself, and also of becoming an egotist? Then, too, imagination is a strong, restless faculty, which claims to be heard and exercised: are we to be quite deaf to her cry, and insensate to her struggles? When she shows us bright pictures, are we never to look at them, and try to reproduce them? And when she is eloquent, and speaks rapidly and urgently in our ear, are we not to write to her dictation?
Charlotte Brontë (1816-1855) British novelist [pseud. Currer Bell]
Letter to G. H. Lewes (6 Nov 1847)
Don’t express your ideas too clearly. Most people think little of what they understand, and venerate what they do not.
Baltasar Gracián y Morales (1601-1658) Spanish writer.
The Art of Worldly Wisdom (1647)
The Cool Stuff Theory of Literature is as follows: All literature consists of whatever the writer thinks is cool. The reader will like the book to the degree that he agrees with the writer about what’s cool. And that works all the way from the external trappings to the level of metaphor, subtext, and the way one uses words. In other words, I happen not to think that full-plate armor and great big honking greatswords are cool. I don’t like ’em. I like cloaks and rapiers. So I write stories with a lot of cloaks and rapiers in ’em, ’cause that’s cool.
Steven Brust (b. 1955) American writer, systems programmer
The Paths of the Dead (2002)
In the essay "Some Notes Toward Two Analyses of Auctorial Method and Voice" by Teresa Nielsen Hayden.
For Fiction is Truth’s elder sister. Obviously. No one in the world knew what truth was till somebody had told a story.
Rudyard Kipling (1865-1936) English writer
A Book of Words, ch. 24 “Fiction” (1928)
One major and fundamental guarantee of protracted freedom is the unfettered right of the man to write as he sees fit, as his conscience indicates, as his mood dictates, as his cause cries out for. The moment you begin to censor the writer — and history bears this out in the ugliest of fashions — so begins a process of decay in the body politic that ultimately leads to disaster. What begins with a blue pencil — for whatever reason — very often ends in a concentration camp.
It has forever been thus: So long as men write what they think, then all of the other freedoms — all of them — may remain intact. And it is then that writing becomes a weapon of truth, an article of faith, an act of courage.
Rod Serling (1924-1975) American screenwriter, playwright, television producer, narrator
Speech (1975)
(Source)
All novels are, or should be, written for both men and women to read, and I am at loss to conceive how a man should permit himself to write anything that would be really disgraceful to a woman, or why a woman should be censured for writing anything that would be proper and becoming for a man.
Anne Brontë (1820-1849) British novelist, poet [pseud. Acton Bell]
The Tenant of Wildfell Hall, Preface (1848)
(Source)
Ignorance is king. Many would not profit by his abdication. Many enrich themselves by means of his dark monarchy. They are his Court, and in his name they defraud and govern, enrich themselves and perpetuate their power. Even literacy they fear, for the written word is another channel of communication that might cause their enemies to become united. Their weapons are keen-honed, and they use them with skill. They will press the battle upon the world when their interests are threatened, and the violence which follows will last until the structure of society as it now exists is leveled to rubble, and a new society emerges. I am sorry: But that is how I see it.
Walter M. Miller Jr. (1923-1996) American science fiction writer
A Canticle for Leibowitz, “Fiat Lux,” ch. 20 (1959)
I love my rejection slips. They show me I try.
Sylvia Plath (1932-1963) American poet and author
(Attributed)
Christopher Columbus discovered the West Indies, and Alexander Graham Bell invented the telephone. We do not call their achievements creations because they are not personal enough. The West Indies were there all the time; and as for the telephone, we feel that Bell’s ingenious thought was somehow not fundamental. The groundwork was there, and if not Bell then someone else would have stumbled on the telephone almost as accidentally as on the West Indies.
By contrast, we feel that Othello is genuinely a creation. This is not because Othello came out of a clear sky; it did not. There were Elizabethan dramatists before William Shakespeare, and without them he could not have written as he did. Yet within their tradition Othello remains profoundly personal; and though every element in the play has been a theme of other poets, we know that the amalgam of these elements is Shakespeare’s; we feel the presence of his single mind. The Elizabethan drama would have gone on without Shakespeare, but no one else would have written Othello.
Jacob Bronowski (1908-1974) Polish-English humanist and mathematician
“The Creative Process,” Scientific American (Sep 1958)
A sacrifice, if we may say so, to the god Brevity, whom all historians, indeed, all who work with the written word, ought to worship.
Steven Brust (b. 1955) American writer, systems programmer
The Phoenix Guards (1991)
Words ought to be a little wild, for they are the assault of thoughts on the unthinking.
John Maynard Keynes (1883-1946) English economist
New Statesman and Nation (15 Jul 1933)
While the spoken word can travel faster, you can’t take it home in your hand. Only the written word can be absorbed wholly at the convenience of the reader.
Kingman Brewster, Jr. (1919-1988) American educator, diplomat
“The Enduring American Press” symposium, Harvard (30 Oct 1964)
If your writing doesn’t keep you up at night, it won’t keep anyone else up either.
James M. Cain (1892-1977) American author and journalist
(Attributed)
A good novel tells us the truth about its hero; but a bad novel tells us the truth about its author.
Gilbert Keith Chesterton (1874-1936) English journalist and writer
Heretics, ch. 15 “On Smart Novelists and the Smart Set” (1905)
(Source)
It doesn’t have to make sense, it just has to sound like it does.
Elmore Leonard (1925-2013) American novelist and screenwriter
(Attributed)
Thinking is the activity I love best, and writing to me is simply thinking through my fingers. I can write up to 18 hours a day. Typing 90 words a minute, I’ve done better than 50 pages a day. Nothing interferes with my concentration. You could put an orgy in my office and I wouldn’t look up — well, maybe once or twice.
Isaac Asimov (1920-1992) Russian-American author, polymath, biochemist
(Attributed)
What I try to do is write a story about a detective rather than a detective story. Keeping the reader fooled until the last, possible moment is a good trick and I usually try to play it, but I can’t attach more than secondary importance to it. The puzzle isn’t so interesting to me as the behavior of the detective attacking it.
Dashiell Hammett (1894-1961) American author, screenwriter, political activist
Interview with Helen Herbert Foster, “House Burglary Poor Trade,” Brooklyn Eagle Magazine (Oct 1929)
(Source)
The profit of books is according to the sensibility of the reader. The profoundest thought or passion sleeps as in a mine, until an equal mind and heart finds and publishes it.
Ralph Waldo Emerson (1803-1882) American essayist, lecturer, poet
Letters and Social Aims, “Quotation and Originality” (1876)
An occasional glance at the obituary column of The Times has suggested to me that the sixties are very unhealthy; I have long thought that it would exasperate me to die before I had written this book, and so it seemed to me that I had better set about it at once. When I have finished it I can face the future with serenity, for I shall have rounded off my life’s work.
W. Somerset Maugham (1874-1965) English novelist and playwright [William Somerset Maugham]
The Summing Up, ch. 3 (1938)
Never does a man portray his own character more vividly than in his manner of portraying another’s.
Jean-Paul Richter (1763-1825) German novelist, art historian, aesthetician [pseud. Jean-Paul]
Titan, “Twenty-Eighth Jubilee” (1800-03)
Hasten slowly, and without losing heart,
Put your work twenty times upon the anvil.[Hâtez-vous lentement ; et, sans perdre courage,
Vingt fois sur le métier remettez votre ouvrage.]
Nicolas Boileau-Despréaux (1636-1711) French poet and critic
The Art of Poetry [L’Art Poétique], Canto 1, l. 171 (1674)
If my books had been any worse, I should not have been invited to Hollywood, and if they had been any better, I should not have come.
Raymond Chandler (1888-1959) American novelist
Atlantic Monthly (12 Dec 1945)
Brevity is the sister of talent.
Anton Pavlovich Chekhov (1860-1904) Russian playwright and writer
Letter to Alexander Chekhov (11 Apr 1889)
The more an idea is developed, the more concise becomes its expression; the more a tree is pruned, the better is the fruit.
Alfred Bougeard (1815-1882) French writer
(Attributed)
In J. De Finod (ed., tr.) A Thousand Flashes of French Wit, Wisdom, and Wickedness (1881).
There’s a great power in words, if you don’t hitch too many of them together.
Josh Billings (1818-1885) American humorist [pseud. of Henry Wheeler Shaw]
(Attributed)
Quoted in Donald Day, Uncle Sam's Uncle Josh (1972 ed., 1st pub. 1953).
There are three difficulties in authorship: to write anything worth the publishing, to find honest men to publish it, and to get sensible men to read it.
Charles Caleb "C. C." Colton (1780-1832) English cleric, writer
Lacon: or, Many Things in Few Words, Preface (1820)
(Source)
Writing, when properly managed, (as you may be sure I think mine is) is but a different name for conversation.
Laurence Sterne (1713-1786) Anglo-Irish novelist, Anglican clergyman
Tristam Shandy, Book 2, ch. 11 (1760-1767)
The monuments of wit and learning are more durable than the monuments of power, or of the hands. For have not the verses of Homer continued twenty-five hundred years or more, without the loss of a syllable or letter; during which time infinite palaces, temples, castles, cities have been decayed and demolished?
Francis Bacon (1561-1626) English philosopher, scientist, author, statesman
Essex’s Device (1595)
Digressions, incontestably, are the sunshine; — & they are the life, the soul of reading; — take them out of this book for instance, — you might as well take the book along with them.
Laurence Sterne (1713-1786) Anglo-Irish novelist, Anglican clergyman
Tristam Shandy, Book 1, ch. 22 (1760-1767)
I have come to believe over and over again that what is most important to me must be spoken, made verbal and shared, even at the risk of having it bruised or misunderstood.
Audre Lorde (1934-1992) American writer, feminist, civil rights activist
“The Transformation of Silence into Language and Action,” speech, Modern Language Association (28 Dec 1977)
(Source)
Nothin’g sa’ys q’uality fantas’y l’ike misuse’d apos’tro’phes.
James Nicoll (b. 1961) Canadian reviewer, editor
“SFBC 1999 June,” rec.arts.sf.written, Usenet (11 Feb 2004)
(Source)
Review of James Clemens's Wit'ch Storm.
The critics of blogs cite their lack of professionalism. Piffle. The dirty little secret of journalism is that it isn’t really a profession. It’s a craft. All you need is a telephone and a conscience, and you’re all set. You get better at it merely by doing it — which is why fancy journalism schools are, to my mind, such a waste of time.
Andrew Sullivan (b. 1963) Anglo-American author, editor, journalist, blogger
“A Blogger’s Creed”, Time (27 Sep 2004)
It is impossible to discourage the real writers — they don’t give a damn what you say, they’re going to write.
Sinclair Lewis (1885-1951) American novelist, playwright
(Attributed)
One word after another.
That’s the only way that novels get written and, short of elves coming in the night and turning your jumbled notes into Chapter Nine, it’s the only way to do it.
So keep on keeping on. Write another word and then another.Neil Gaiman (b. 1960) British fabulist
“Pep Talk from Neil Gaiman,” National Novel Writing Month (2011)
(Source)
What nobody tells people who are beginners, and I really wish someone had told this to me, is that […] all of us who do creative work, we get into it, and we get into because we have good taste. […] But you get into this thing […] and there’s a gap. For the first couple of years that you’re making stuff, what you’re making isn’t so good. It’s not that great. It’s really not that great. It’s trying to be good, it has ambition to be good, but it’s not quite that good. But your taste, the thing that got you into the game, your taste is still killer. And your taste is good enough that you can tell that what you’re making is kind of a disappointment to you. That you can tell it’s still sort of crappy. A lot of people never get past that phase. A lot of people at that point, they quit. […] The thing I want to tell you is, everybody goes through that. […] It’s totally normal. And the most important possible thing you can do is do a lot of work. Do a huge volume of work. Put yourself on a deadline so that every week or every month you know you’re going to finish one story. […] Because it’s only by actually going through a volume of work that you’re going to catch up and close that gap. And the work you’re making will be as good as your ambitions. […] It’s going to take you awhile. It’s normal to take a while. You just have to fight your way through that.
Ira Glass (b. 1959) American report, radio personality, producer
“This American Life,” Public Radio International (Aug 2009)
(Source)
