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- Dave on The Odyssey [Ὀδύσσεια], Book 6, l. 180ff [Odysseus to Nausicaa] (c. 700 BC) [tr. Rieu (1946)]
- Richard McBroom on “What I Believe,” Forum and Century (Oct 1930)
- Marcus Aurelius - (Spurious) | WIST on Meditations, Book 2, #11 [tr. Gill (2014)]
- Richard McBroom on “What I Believe,” Forum and Century (Oct 1930)
- Elizabeth II - Address to the Nation (5 Apr 2020) | WIST on “We’ll Meet Again” (1939) [with Hughie Charles]
- Pratchett, Terry - The Last Hero (2001) | WIST on Gnomologia: Adages and Proverbs, #3366 (1732)
- King, Stephen - On Writing, ch. 12 (2000) | WIST on In “Ten Rules for Writing Fiction,” The Guardian (20 Feb 2010)
- King, Stephen - On Writing, ch. 12 (2000) | WIST on On the Art of Writing, Lecture 12 “On Style,” Cambridge University (28 Jan 1914)
- Richard McBroom on “What I Believe,” Forum and Century (Oct 1930)
- Phillips, Wendell - "Mobs and Education," Speech, Twenty-Eighth Congregational Society, Boston (16 Dec 1860) | WIST on “The Boston Mob,” speech, Antislavery Meeting, Boston (21 Oct 1855)
Quotations about writing
Note that not all quotations have been tagged, so the Search function may find additional quotations on this topic.
To write in plain, vigorous language one has to think fearlessly, and if one thinks fearlessly one cannot be politically orthodox.
George Orwell (1903-1950) English writer [pseud. of Eric Arthur Blair]
“The Prevention of Literature,” Polemic (Jan 1946)
(Source)
Anybody who likes writing a book is an idiot. Because it’s impossible, it’s like having a homework assignment every stinking day until it’s done.
Lewis Black (b. 1948) American comedian
Interview by Amelie Gillette, The Onion A.V. Club (7 Jun 2006)
(Source)
People think that you have these things called ideas and that writing is a matter of imposing them on the subject material, whereas it’s only in the writing that I discover what it is that I think.
Anthony Lane (b. 1962) British journalist, film critic
“A Writer’s Life,” interview by Will Cohu, The Telegraph (14 Dec 2003)
(Source)
Because as writers we’ll do anything — organize the closet, clean the garage — to avoid writing.
Lynn Vincent (b. 1962) American author, journalist
In The New Yorker, “Lives of the Saints” (15 Oct 2012)
(Source)
JERRY: Writing is also one of those things like … I’d rather fill in all the “o”s in the phone book. [Laughs]. You know what I mean? Anything is more fun than trying to write songs.
BOB: I’d rather be in the dentist’s chair. The blank page is the most frightening, most horrifying, the most toothy, snarling, god-awful thing I can imagine.
JERRY: Any excuse to not do it is good enough.
BOB: Man, look at those dishes mounting up. How can I work in this pigsty?
Don’t ask a writer what he’s working on. It’s like asking someone with cancer about the progress of his disease.
Jay McInerney (b. 1955) American novelist, screenwriter, editor [John Barrett McInerney, Jr.]
Brightness Falls, ch. 1 (1985)
(Source)
Broadly speaking, short words are best, and the old words, when short, are the best of all.
Winston Churchill (1874-1965) British statesman and author
The Times Literary Award luncheon, London (2 Nov 1949)
(Source)
Someday I hope to write a book where the royalties will pay for the copies I give away.
No one has ever written, painted, sculpted, modeled, built, or invented except literally to get out of hell.
Antonin Artaud (1896-1948) French playwright, actor, director
Van Gogh, the Man Suicided by Society [Le Suicidé de la Société] (1947) [tr. Watson]
(Source)
Writing isn’t about making money, getting famous, getting dates, getting laid, or making friends. In the end, it’s about enriching the lives of those who will read your work, and enriching your own life, as well. It’s about getting up, getting well, and getting over. Getting happy, okay? Getting happy. […] Writing is magic, as much the water of life as any other creative art. The water is free. So drink. Drink and be filled up.
The most important things to remember about backstory are that (a) everyone has a history and (b) most of it isn’t very interesting. Stick to the parts that are, and don’t get carried away with the rest. Life stories are best received in bars, and only then an hour or so before closing time, and if you are buying.
Don’t get discouraged because there’s a lot of mechanical work to writing. There is, and you can’t get out of it. I rewrote the first part of A Farewell to Arms at least fifty times. You’ve got to work it over. The first draft of anything is shit.
So long as you write what you wish to write, that is all that matters; and whether it matters for ages or only for hours, nobody can say.
Virginia Woolf (1882-1941) English modernist writer [b. Adeline Virginia Stephen]
“A Room of One’s Own,” ch. 6 (1929)
(Source)
I was a model child. It was the teacher’s mistake I am sure. The box was drawn on the blackboard and the names of misbehaving children were written in it. As I adored my teacher, Miss Smith, I was destroyed to see my name appear. This was just the first of the many humiliations of my youth that I’ve tried to revenge through my writing. I have never fully exorcised shames that struck me to the heart as a child except through written violence, shadowy caricature, and dark jokes.
Louise Erdrich (b. 1954) American author, poet
Interview with Lisa Halliday, “The Art of Fiction” #208, The Paris Review (Winter 2010)
(Source)
On the inspiration behind Dot Adare's 1st Grade teacher putting her into the "naughty box" in The Beet Queen (1986).
The wretched Artist himself is alternatively the lowest worm that ever crawled when no fire is in him: or the loftiest God that ever sang when the fire is going.
Caitlin Thomas (1913-1994) British author, wife of Dylan Thomas [née Macnamara]
Not Quite Posthumous Letter to My Daughter (1963)
(Source)
I am sure that in nine out of ten cases the original wish to write is the wish to make oneself felt … the non-essential writer never gets past that wish.
The writer, like a swimmer caught by an undertow, is borne in an unexpected direction. He is carried to a subject which has awaited him — a subject sometimes no part of his conscious plan. Reality, the reality of sensation, has accumulated where it was least sought. To write is to be captured — captured by some experience to which one may have given hardly a thought.
As a novelist, I cannot occupy myself with “characters,” or at any rate central ones, who lack panache, in one or another sense, who would be incapable of a major action or a major passion, or who have not a touch of the ambiguity, the ultimate unaccountability, the enlarging mistiness of persons “in history.” History, as more austerely I now know it, is not romantic. But I am.
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.
William Faulkner (1897-1962) American novelist
“The Art of Fiction,” Interview by Jean Stein, Paris Review #12 (Spring 1956)
(Source)
The importance to the writer of first writing must be out of all proportion of the actual value of what is written.
An artist is a creature driven by demons. He doesn’t know why they chose him and he’s usually too busy to wonder why. He is completely amoral in that he will rob, borrow, beg, or steal from anybody and everybody to get the work done.
William Faulkner (1897-1962) American novelist
“The Art of Fiction,” Interview by Jean Stein, Paris Review #12 (Spring 1956)
(Source)
In relation to his public, the artist of to-day […] walks at first with his companions, till one day he falls through a hole in the brambles, and from that moment is following the dark rapids of an underground river which may sometimes flow so near the surface that the laughing picnic parties are heard above, only to re-immerse itself in the solitude of the limestone and carry him along its winding tunnel, until it gushes out through the misty creeper-hung cave which he has always believed to exist, and sets him back in the sun.
Cyril Connolly (1903-1974) English intellectual, literary critic and writer.
“Writers and Society, 1940-3” (1943), The Condemned Playground (1946)
(Source)
But the point is that this is a political age. A writer inevitably writes — and less directly this applies to all the arts — about contemporary events, and his impulse is to tell what he believes to be the truth. But no government, no big organization, will pay for the truth. To take a crude example: can you imagine the British Government commissioning E. M. Forster to write A Passage to India? He could only write it because he was not dependent on State aid.
George Orwell (1903-1950) English writer [pseud. of Eric Arthur Blair]
“As I Please” column, Tribune (13 Oct 1944)
(Source)
If a theme or idea is too near the surface, the novel becomes simply a tract illustrating an idea.
The influence exercised over the human mind by apt analogies is and has always been immense. Whether they translate an established truth into simple language or whether they adventurously aspire to reveal the unknown, they are among the most formidable weapons of the rhetorician.
Winston Churchill (1874-1965) British statesman and author
“The Scaffolding of Rhetoric” (Nov 1897)
(Source)
Commonly abridged, "Apt analogies are among the most formidable weapons of the rhetorician."
To return to the matter of the persona, I repeat that one cannot wholly eliminate oneself for a second, and also sufficient, reason: any fiction (and surely poetry too?) is bound to be transposed autobiography. (True, it may be this at so many removes as to defeat recognition.) I can, and indeed if i would not I still must, relate any and every story I have written to something that happened to me in my own life. But here I am speaking of happenings in a broad sense — to behold and react, is where I am concerned a happening; speculations, unaccountable stirs of interest, longings, attractions, apprehensions without knowable cause — these are happenings, also.
Writing is like prostitution. First you do it for the love of it, then you do it for a few friends, and finally you do it for money.
Ferenc Molnár (1878-1952) Hungarian-American author, stage director, dramatist [a.k.a. Franz Molnar]
Quoted in George Jean Nathan, Intimate Notebooks (1932)
(Source)
Common form of a quote often misattributed to Molière. It original version actually appears to have originated with Molnar, who, when asked how he regarded his writing, answered, "Like a whore. First, I did it for my own pleasure. Then I did it for the pleasure of my friends. And now -- I do it for money."
More discussion here.
If you have any young friends who aspire to become writers, the second greatest favor you can do them is to present them with copies of The Elements of Style. The first greatest, of course, is to shoot them now, while they’re happy.
Dorothy Parker (1893-1967) American writer
“Book Reviews,” Esquire (1 Nov 1959)
(Source)
Review of William Strunk Jr and E. B. White, The Elements of Style, revised edition.
If the artist does not throw himself into his work as Curtius sprang into the gulf, as a soldier leads a forlorn hope without a moment’s thought, and if when he is in the crater he does not dig as a miner does when the earth has fallen in on him; if he contemplates the difficulties before him instead of conquering them one by one, like the lovers in fairy tales, who to win their princesses overcome ever-new enchantments, the work remains incomplete; it perishes in the studio where creativeness becomes impossible, and the artist looks on the suicide of his own talent.
[Si l’artiste ne se précipite pas dans son oeuvre, comme Curtius dans le gouffre, comme le soldat dans la redoute, sans réfléchir; et si, sans ce cratère, il ne travaille pas comme le mineur enfoui sous un éboulement: s’il contemple enfin les difficultés au lieu de las vaincre une à une, à l’example de ces amoureux des féeries, qui pour obtenir leurs princesses, combattaient des enchantements renaissants, l’oeuvre reste inachevée, elle périt au fond de l’atelier où la production devient impossible, et l’artiste assiste au suicide de son talent.]
Honoré de Balzac (1799-1850) French novelist, playwright
Cousin Betty [La Cousine Bette] (1846) [tr. Waring (1899)]
(Source)
Curtius is the young Roman patrician, Marcus Curtius. In 362 BC, a chasm opened up in Rome's forum, and soothsayers proclaimed it could only be filled by Rome's greatest treasure. Curtius mounted his horse and leapt into the chasm, which then closed over him.
Alt. trans.:
- "If the artist does not throw himself into his work, like Curtius into the gulf beneath the Forum, like a soldier against a fortress, without hesitation, and if, in that crater, he does not work like a miner under a fall of rock, if, in short, he envisages the difficulties instead of conquering them one-by-one, following the examples of lovers in fairy-tales who, to win their princesses, struggle against recurring enchantments, the work remains unfinished, it expires in the studio, wher production remains impossible and the artist looks on at the suicide of his own talent." [tr. Raphael (1992)]
- "If the artist does not fling himself, without reflecting, into his work, as Curtius flung himself into the yawning gulf, as the soldier flings himself into the enemy's trenches, and if, once in this crater, he does not work like a miner on whom the walls of his gallery have fallen in; if he contemplates difficulties instead of overcoming them one by one ... he is simply looking on at the suicide of his own talent." [Source]
- Original French.
An artist’s job is to make order out of chaos. You collect details, look for a pattern, and organize. You make sense out of senseless facts. You puzzle together bits of everything. You shuffle and reorganize. Collage. Montage. Assemble.
Let the reader find that he cannot afford to omit any line of your writing because you have omitted every word that he can spare.
Ralph Waldo Emerson (1803-1882) American essayist, lecturer, poet
Journal VA, p. 154 (Jul-Aug 1862)
(Source)
PHILINTE: A gentleman may be respected still,
Whether he writes a sonnet well or ill.
That I dislike his verse should not offend him;
In all that touches honor, I commend him;
He’s noble, brave, and virtuous — but I fear
He can’t in truth be called a sonneteer.”On peut être honnête homme, et faire mal des vers,
Ce n’est point à l’honneur que touchent ces matières,
Je le tiens galant homme en toutes les manières,
Homme de qualité, de mérite et de cœur,
Tout ce qu’il vous plaira, mais fort méchant auteur.Molière (1622-1673) French playwright, actor [stage name for Jean-Baptiste Poquelin]
Le Misanthrope, Act 4, sc. 1, ll. 1144-48 (1666) [tr. Wilbur (1954)]
(Source)
Alt. trans.:
- "A man can be a gentleman and make bad verses. Such matters do not touch his honor, and I hold him to be a gallant man in every other way; a man of quality, of courage, deserving of anything you please, but -- a bad writer." [tr. Wormeley (1894)]
- "A man may be / A perfect gentleman, and write poor verse. / These matters do not raise the point of honor. / I hold him a true man in all respects, / Brave, worthy, noble, anything you will, / But still, a wretched writer." [tr. Page (1913)]
- "Anyone may be an honorable man, and yet write verse badly." [Bartlett]
Good authors, too, who once knew better words
Now only use four-letter words
Writing prose.
Anything goes!
business business business
grind grind grind
what a life for a man
that might have been a poetDon Marquis (1878-1937) American journalist and humorist
“pete the parrot and shakespeare,” archy and mehtabel (1927)
(Source)
As a carpenter can make a gibbet as well as an altar, a writer can describe the world as trivial or exquisite, as material or as idea, as senseless or as purposeful. Words are wood.
I always make the first Verse well, but I’m perplex’d about the rest.
[Je fais toujours bien le premier vers: mais j’ai peine à faire les autres.]
Molière (1622-1673) French playwright, actor [stage name for Jean-Baptiste Poquelin]
The Romantick Ladies [Les Précieuses Ridicules], Act 1, sc. 11 (1659)
(Source)
Alt. trans.: "I always make the first verse well, but I have trouble making the others."
Every word is a messenger. Some have wings; some are filled with fire; some are filled with death.
Home is in every sentence of your writing.
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)
Sometimes reality is too complex. Stories give it form.
It isn’t easy for an author to remain a pleasant human being: both success and failure are usually of a crippling kind.
Graham Greene (1904-1991) English novelist [Henry Graham Greene]
“The Poker-Face,” The Spectator (15 Oct 1943)
(Source)
Reprinted in The Lost Childhood and Other Essays (1951).
I have found that a story leaves a deeper impression when it is impossible to tell which side the author is on.
Art is an adventure. When it ceases to be an adventure, it ceases to be art.
In art as in politics we must deal with people as they are, not as we wish them to be. Only by working with the real can you get closer to the ideal.
Rita Mae Brown (b. 1944) American author, playwright
In Her Day, Preface, “A Note to the Feminist Reader” (1976)
(Source)
True art selects and paraphrases, but seldom gives a verbatim translation.
Thomas Bailey Aldrich (1836-1907) American writer, poet, critic, editor
“Leaves From a Notebook,” Ponkapog Papers (1903)
(Source)
Booksellers are the most valuable destination for the lonely, given the number of books that were written because authors couldn’t find anyone to talk to.
Alain de Botton (b. 1969) Swiss-British author
The Consolations of Philosophy, ch. 4 “Consolation for Inadequacy” (2000)
(Source)
An author in his book must be like God in the universe, present everywhere and visible nowhere.
A deadline is negative inspiration. Still, it’s better than no inspiration at all.
Rita Mae Brown (b. 1944) American author, playwright
Starting from Scratch: A Different Kind of Writers’ Manual, Part 4 (1988)
(Source)
The art object is always passive in relation to its audience. It is alarmingly active, however, in relation to its creator. Far from being like a receptacle in which you, the artist, drop your ideas, and far from being like a lump of clay which you pummel until it fits your notion of an ashtray, the art object is more like an enthusiastic and ill-trained Labrador retriever which yanks you into traffic.
Annie Dillard (b. 1945) American author
Living by Fiction (1983)
(Source)
Often paraphrased, "Art is like an ill-trained Labrador retriever that drags you out into traffic."
I think the author who speaks about his own books is almost as bad as a mother who talks about her own children.
Benjamin Disraeli (1804-1881) English politician and author
Speech, Banquet to Lord Rector, University of Glasgow (19 Nov 1870)
(Source)
The dramatic art is particularly satisfying for any writer with a polemical bent; and I am at heart a propagandist, a tremendous hater, a tiresome nag, complacently positive that there is no human problem which could not be solved if people would simply do as I advise.
Gore Vidal (1925-2012) American novelist, dramatist, critic
Visit to a Small Planet and Other Television Plays, Preface (1956)
(Source)