Stories may well be lies, but they are good lies that say true things, and which can sometimes pay the rent.
Neil Gaiman (b. 1960) British author, screenwriter, fabulist
Blog entry (2004-11-17), “Politics, Portugal and No Gumbo-Limbo Trees”
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Quotations about:
writing
Note not all quotations have been tagged, so Search may find additional quotes on this topic.
Two people getting together to write a book is like three people getting together to have a baby. One of them is superfluous.
George Bernard Shaw (1856-1950) Irish playwright and critic
(Attributed)
Writing a book is like doing a huge jigsaw puzzle, unendurably slow at first, almost self-propelled at the end. Actually, it’s more like doing a puzzle from a box in which several puzzles have been mixed. Starting out, you can’t tell whether a piece belongs to the puzzle at hand, or one you’ve already done, or will do in ten years, or will never do.
James Richardson (b. 1950) American poet
“Vectors: 56 Aphorisms and Ten-second Essays,” Michigan Quarterly Review, # 25 (Spring 1999)
(Source)
Good work you’ll find, some poor, and much that’s worse,
It takes all sorts to make a book of verse.[Sunt bona, sunt quaedam mediocria, sunt mala plura
quae legis hic: aliter non fit, Avite, liber.]Martial (AD c.39-c.103) Spanish Roman poet, satirist, epigrammatist [Marcus Valerius Martialis]
Epigrams [Epigrammata], Book 1, epigram 16 (1.16) (AD 85-86) [tr. Pott & Wright (1921)]
(Source)
"To Avitus." (Source (Latin)). Alternate translations:Some things are good, indifferent some, some naught,
You read: a book can't otherwise be wrote.
[tr. Killigrew (1695)]Here's some good things, some middling, more bad, you will see:
Else a book, my Avitus, it never could be.
[tr. Elphinston (1782), 12.6]Some of my epigrams are good, some moderately so, more bad: there is no other way, Avitus, of making a book.
[tr. Amos (1858), 2.23 (cited as 1.17)]Of the epigrams which you read here, some are good, some middling, many bad: a book, Avitus, cannot be made in any other way.
[tr. Bohn's Classical (1859)]Here you will read some few good things, while some
Are mediocre, most are bad: 'tis thus
That every book's compiled.
[ed. Harbottle (1897)]There are good things, there are some indifferent, there are more things bad that you read here. Not otherwise, Avitus, is a book produced.
[tr. Ker (1919)]Good work you’ll find, some poor, and much that’s worse;
It takes all sorts to make a book of verse.
[tr. Pott & Wright (1921)]Some things are good, some fair, but more you'll say
Are bad herein -- all books are made that way!
[tr. Duff (1929)]Some of these epigrams are good,
Some mediocre, many bad.
Otherwise, it is understood,
A bookful of poems cannot be had.
[tr. Marcellino (1968)]Among these lines you'll find a few
that are rather good, more that are only fair,
and a lot that are bad.
From that, Avitus, it may be deduced
just how a book is produced.
[tr. Bovie (1970)]Some good, some middling, and some bad
You’ll find here. They are what I had.
[tr. Cunningham (1971)]Some lines in here are good, some fair,
And most are frankly rotten;
No other kind of book, Avitus,
Can ever be begotten.
[tr. Wender (1980)]There are good things that you read here, and some indifferent, and more bad. Not otherwise, Avitus, is a book made.
[tr. Shackleton Bailey (1993)]Some good things here, and some not worth a look.
For this is that anomaly, a book.
[tr. Wills (2007)]Some of my poems are good, some
not up to scratch, some
bad.
That’s how it is with most books,
if the truth were told.
Who tells the truth about truth, my dear?
Make way for the judge and the jester.
[tr. Kennelly (2008), "How It Is"]You'll read some good things here, some fair, more worse.
There's no way else to make a book of verse.
[tr. McLean (2014)]You're reading good poems here, Avitus -- and a few that are so-so, and a lot that are bad; a book doesn't happen any other way.
[tr. Nisbet (2015)]Some good, some so-so, most of them naught!
Well, if not worse, the book may still be bought.
[Anon.]
But the problem is that bad writers tend to have the self-confidence, while the good ones tend to have self-doubt.
Charles Bukowski (1920-1994) German-American author, poet
“Charles Bukowski,” interview by Alden Mills, Arete (Jul/Aug 1989)
This is almost always misquoted in a much broader paraphrase, e.g., "The problem with the world is that the intelligent people are full of doubts, while the stupid ones are full of confidence," perhaps to echo Russell and Yeats.
More examination of this quotation: The Best Lack All Conviction While the Worst Are Full of Passionate Intensity – Quote Investigator.
If the desire to write is not accompanied by actual writing, then the desire must be not to write.
You ask me why I have no verses sent?
For fear you should return the compliment.[Cur non mitto meos tibi, Pontiliane, libellos?
Ne mihi tu mittas, Pontiliane, tuos.]Martial (AD c.39-c.103) Spanish Roman poet, satirist, epigrammatist [Marcus Valerius Martialis]
Epigrams [Epigrammata], Book 7, epigram 3 (7.3) (AD 92) [tr. Hay (1755)]
(Source)
Compare to Epigram 5.73. (Source (Latin)). Alternate translations:Why send I not to thee these books of mine?
'Cause I, Pontilian, would be free from thine.
[tr. Wright (1663)]Why I send thee, Pontilian, not one of my writings?
It is lest thou, too gen'rous, return thine enditings.
[tr. Elphinston (1782), 12.10]Why do I not send you my books, Pontilianus? Lest you should send me yours, Pontilianus.
[tr. Bohn's Classical (1859)]Why, sir, I don't my verses send you,
Pray, would you have the reason known?
The reason is -- for fear, my friend, you
Should send me, in return, your own.
[tr. Webb (1879)]You ask me why I send you not my books?
Lest you should send me yours, my friend, in turn.
[ed. Harbottle (1897)]I never send my books, it’s true.
Know why? You’d send me your books too.
[tr. West (1912), "Reply"]Why do I not send you my works, Pontilianus? That you, Pontilianus, may not send yours to me.
[tr. Ker (1919)]You ask me why my books were never sent?
For fear you might return the compliment.
[tr. Pott & Wright (1921)]Pontilianus asks why I omit
To send him all the poetry that is mine;
The reason is that in return for it,
Pontilianus, thou might'st send me thine.
[tr. Duff (1929)]You ask me why I do not send you
All my latest publications?
Let in turn you send me, sir,
All your latest lucubrations!
[tr. Marcellino (1968)]Why have I never sent
My works to you, old hack?
For fear the compliment
Comes punishingly back.
[tr. Michie (1972)]Why don't I send you my little books, Pontilianus? Fore fear you might send me yours, Pontilianus.
[tr. Shackleton Bailey (1993)]Why don’t I send you my little books?
Pontilianus, lest you send me yours.
[tr. Kline (2006), "No thanks"]You ask me why I send you not my book?
For fear you'll say, "Here's my work -- take a look."
[tr. Wills (2007)]Why don’t I send my books to you?
For fear you’d send me your books, too.
[tr. McLean (2014)]You wonder why my little book is overdue,
dear Pontilianus?
It’s just that I don’t want to look at one from you.
[tr. Juster (2016)]You ask me why I’ve sent you no new verses?
There might be reverses.
[tr. Burch (c. 2017)]You fret I haven’t sent you, Wade,
My latest book for free;
The fact is that I’m too afraid
You’d send your book to me.
[tr. Mitchell]
Bad writing is almost always a love poem addressed by the self to the self. The person who will admire it first and last and most is the writer herself.
Toby Litt (b. 1968) English writer and academic
“What makes bad writing bad?” The Guardian (20 May 2016)
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However you disguise novels, they are always biographies.
William Golding (1911-1983) British novelist, playwright, poet
“Universal Pessimist, Cosmic Optimist,” Interview by MaryLynn Scott, Aurora Online (1990)
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To go from being a competent writer to being a great writer, I think you have to risk being — or risk being seen as — a bad writer. Competence is deadly because it prevents the writer risking the humiliation that they will need to risk before they pass beyond competence. To write competently is to do a few magic tricks for friends and family; to write well is to run away to join the circus. Your friends and family will love your tricks, because they love you. But try busking those tricks on the street. Try busking them alongside a magician who has been doing it for 10 years, earning their living. When they are watching a magician, people don’t want to say, “Well done.” They want to say, “Wow.”
Toby Litt (b. 1968) English writer and academic
“What makes bad writing bad?” The Guardian (20 May 2016)
(Source)
There is a class of people wanting to be called philosophers, who are said to have produced many books actually in Latin. For my part I don’t despise them — I’ve never read them. But since those selfsame writers proclaim that what they write is neither systematic nor properly subdivided nor correct nor polished in style, I pass by reading what would bring no pleasure.
[Est enim quoddam genus eorum qui se philosophos appellari volunt, quorum dicuntur esse Latini sane multi libri; quos non contemno equidem, quippe quos numquam legerim; sed quia profitentur ipsi illi qui eos scribunt se neque distincte neque distribute neque eleganter neque ornate scribere, lectionem sine ulla delectatione neglego.]
Marcus Tullius Cicero (106-43 BC) Roman orator, statesman, philosopher
Tusculan Disputations [Tusculanae Disputationes], Book 2, ch. 3 (2.3) / sec. 7 (45 BC) [tr. Douglas (1990)]
(Source)
(Source (Latin)). Alternate translations:For there is a certain Set of such as assume to themselves the name of Philosophers, who are said to have Books enough in Latin, which I do not despise, for I have never read them; but because the Authors profess themselves, that they write neither with distinction of Terms, nor distribution of Parts, nor elegancy of Language, nor any Ornaments; I neglect to give that reading which is no ways delightful
[tr. Wase (1643)]For there is a farther certain tribe who would willingly be called philosophers, whose books in our language are said to be numerous, which I do not despise, for indeed I never read the: but because the authors themselves declare that they write without any regularity or method, without elegance or ornament: I do not choose to read what is so void of entertainment.
[tr. Main (1824)]For there is a certain race, who wish to be called philosophers, whose Latin books, indeed, are said to be numerous, which I have no contempt for, really, because I never read them; but, since their authors themselves profess to write without either order or method, ornament or elegance, I neglect a reading which affords me no delight.
[tr. Otis (1839)]For there is a certain class of them who would willingly be called philosophers, whose books in our language are said to be numerous, and which I do not despise, for indeed I never read them: but still because the authors themselves declare that they write without any regularity, or method, or elegance, or ornament, I do not care to read what must be so void of entertainment.
[tr. Yonge (1853)]There is, indeed, a certain class of men who want to be called philosophers, who are said to have written many Latin books, which I do not despise, because I have never read them; but inasmuch as their authors profess to write with neither precision, nor system, nor elegance, nor ornament, I omit reading what can give me no pleasure.
[tr. Peabody (1886)]There is a certain class of authors, who wish to be called philosophers, and who have apparently published many books in Latin. I do not, indeed, condemn them, because I never read them, but because they themselves confess that they have not written their books clearly or in a well-arranged manner, nor elegantly or with any ornament. I avoid the sort of reading which offers no enjoyment.
[tr. @sentantiq (2015)]There exists a class of men who lay claim to the title of philosophers and are said to be authors of a great many books in Latin. These I personally do not despise, for the reason that I have never read them; but as the writers of these books on their own admission avoid in what they write a systematic approach, due subdivision, correctness, or a polished style. I have no interest in reading what brings no pleasure.
[tr. Davie (2017)]
I made up my mind long ago to follow one cardinal rule in all my writing — to be clear. I have given up all thought of writing poetically or symbolically or experimentally, or in any of the other modes that might (if I were good enough) get me a Pulitzer prize. I would write merely clearly and in this way establish a warm relationship between myself and my readers, and the professional critics — Well, they can do whatever they wish.
Isaac Asimov (1920-1992) Russian-American author, polymath, biochemist
Nemesis, “Author’s Note” (1989)
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For indeed it is possible that a man may think well, and yet not be able to express his thoughts elegantly; but for any one to publish thoughts which he can neither arrange skilfully nor illustrate so as to entertain his reader, is an unpardonable abuse of letters and retirement: they, therefore, read their books to one another, and no one ever takes them up but those who wish to have the same licence for careless writing allowed to themselves.
[Fieri autem potest, ut recte quis sentiat et id quod sentit polite eloqui non possit; sed mandare quemquam litteris cogitationes suas, qui eas nec disponere nec inlustrare possit nec delectatione aliqua allicere lectorem, hominis est intemperanter abutentis et otio et litteris. Itaque suos libros ipsi legunt cum suis, nec quisquam attingit praeter eos, qui eandem licentiam scribendi sibi permitti volunt.]
Marcus Tullius Cicero (106-43 BC) Roman orator, statesman, philosopher
Tusculan Disputations [Tusculanae Disputationes], Book 1, ch. 3 (1.3) / sec. 6 (45 BC) [tr. Yonge (1853)]
(Source)
Source (Latin). Alternate translations:Now it is possible, that one may have true Conceptions, and yet not be able to express his Notions in proper Terms; but for a man to commit his thoughts to writing for the publick, who can neither put them in due method, nor illustrate them with clear Proofs, nor by any delightful Ornaments entertain his Reader, is the part of one that at no rate abuses his own time, and the benefit of Writing. Here∣upon they read their own Books among themselves, nor doth any one else meddle with them, but they that expect allowance to write after the same loose fashion.
[tr. Wase (1643)]For indeed it may be that a man may think well, and yet not be able to express his thoughts elegant; but for any one ot publish thoughts which eh can neither methodize, nor illustrate nor entertain his reader, is an unpardonable abuse of letters and retirement: they, therefore, read their books to one another, which were never taken up by any but those who claimed the same privilege of writing.
[tr. Main (1824)]For it may very well happen, that a man may think rightly, and yet be unable to give utterance to his sentiments with sufficient elegance. But, for any one to consign his thoughts to letters, who can neither arrange them with method, nor make them intelligible by illustration, nor attract the reader with any delight, is the part of a man who rashly abuses both his leisure and literature. And, therefore, let them read their books themselves with their friends; nor let them be touched by any, except by those who are like to need the same indulgence for the same license in writing.
[tr. Otis (1839)]One may think correctly, yet be unable to give elegant expression to what he thinks; and in that case for a man to commit his thoughts to writing when he can neither arrange them, nor illustrate them, nor attract readers by anything that can give them delight, is the part of a man who outrageously abuses both leisure and letters. Such writers read their own books with their intimate friends, nor does any one else touch them except those who crave for themselves like liberty of writing.
[tr. Peabody (1886)]Even when they have their arguments in order, they don't express them with any flair. They waste their free time -- and do a discredit to literature -- when they commit thoughts to writing without knowing how to arrange or enliven them or give any pleasure to the reader. And so they just end up reading each other's books! No one pays attention to them except people who hope to qualify for the same writer's licence.
[tr. Habinek (1996)]But it can happen that someone may have a good thought which he cannot express well.
[tr. @sentantiq (2016)]It is possible for a man to hold the right views but be incapable of expressing these with any elegance; but that anyone should entrust his thoughts to writing, without the ability to arrange them or to express them with clarity, or to attract the reader by offering him some pleasure, is characteristic of a man who is making an ill-disciplined misuse of both leisure and writing. The result is these fellows read their own books to their own circle and no one touches them except those who wish to be permitted the same freedom in writing.
[tr. Davie (2017)]
Since the objects of imitation are men in action, and these men must be either of a higher or lower type (for moral character mainly answers to these divisions, goodness and badness being the distinguishing marks of moral differences), it follows that we must represent men as either better than in real life, or as worse, or as they are.
[ἐπεὶ δὲ μιμοῦνται οἱ μιμούμενοι πράττοντας, ἀνάγκη δὲ τούτους ἢ σπουδαίους ἢ φαύλους εἶναι τὰ γὰρ ἤθη σχεδὸν ἀεὶ τούτοις ἀκολουθεῖ μόνοις, κακίᾳ γὰρ καὶ ἀρετῇ τὰ ἤθη διαφέρουσι πάντες, ἤτοι βελτίονας ἢ καθ᾽ ἡμᾶς ἢ χείρονας ἢ καὶ τοιούτους.]
Aristotle (384-322 BC) Greek philosopher
Poetics [Περὶ ποιητικῆς, De Poetica], ch. 2, sec. 1 / 1448a.1 (c. 335 BC) [tr. Butcher (1895)]
(Source)
Original Greek. Alternate translations:The objects the imitator represents are actions, with agents who are necessarily either good men or bad -- the diversities of human character being nearly always derivative from this primary distinction, since the line between virtue and vice is one dividing the whole of mankind. It follows, therefore, that the agents represented must be either above our own level of goodness, or beneath it, or just such as we are.
[tr. Bywater (1909)]Inasmuch as those who portray persons -- who must be relatively good or bad, since thus only can character regularly be classified, for the difference between any characters is relative badness and goodness -- portray such as are better than, worse than, or on a level with ourselves.
[tr. Margoliouth (1911)]Since living persons are the objects of representation, these must necessarily be either good men or inferior -- thus only are characters normally distinguished, since ethical differences depend upon vice and virtue -- that is to say either better than ourselves or worse or much what we are.
[tr. Fyfe (1932)]Since those who represent represent people in action, these people are necessarily either good or inferior. For characters almost always follow from these [qualities] alone; everyone differs in character because of vice and virtue. So they are either (i) better than we are, or (ii) worse, or (iii) such [as we are].
[tr. Janko (1987), sec. 1.3]Since those doing the imitating imitate people acting, and it is necessary that the latter be people either of serious moral stature or of a low sort (for states of character pretty much always follow these sorts alone, since all people differentiate states of character by vice and virtue), they imitate either those better than we are or worse, or else of our sort.
[tr. Sachs (2006)]The thing that representative artists represent are the actions of people and if people are represented they are necessarily either superior or inferior, better or worse, than we are. (Differences in character you see derive from these categories, since it is by virtue and vice that people are ethically distinct from each other.)
[tr. Kenny (2013)]
The history is right perhaps, but let us not forget, it was written by the victors.
[L’histoire est juste peut-être, mais qu’on ne l’oublie pas, elle a été écrite par les vainqueurs.]
Alexis Guignard, comte de Saint-Priest (1805-1851) French diplomat and historian
History of Royalty [Histoire de la Royauté] (1842)
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More books have resulted from somebody’s need to write than from anybody’s need to read.
Ashleigh Brilliant (b. 1933) Anglo-American epigramist, aphorist, cartoonist
Pot-Shots, #3273
(Source)
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 journalist, essayist, writer [pseud. of Eric Arthur Blair]
Essay (1946-01), “The Prevention of Literature,” Polemic Magazine
(Source)
On why, in authoritarian regimes, literature suffers.
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?
Jerry Garcia (1942-1995) American singer-songwriter and guitarist
Interview of Jerry Garcia and Bob Weir by Jon Sievert, Guitar Player Magazine (1993-05-20)
The interview was reprinted in Best of Guitar Player - Grateful Dead (1993-09). (Many thanks to Ryan Curry for sharing the photo.)
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)
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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.
Clarence Darrow (1857-1938) American lawyer
(Attributed)
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]
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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.
Stephen King (b. 1947) American author
On Writing: A Memoir of the Craft (2001)
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)
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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)
To be a writer is to accept failure as a profession — which of us is Dante or Shakespeare? — and could they return, wouldn’t they fall at once to revising, knowing they could make the work better? In our own dwarfed way, we are trying for something like perfection, knowing it is unachievable (except of course that trying and failing is a better way of living than not trying).
John Ciardi (1916-1986) American poet, writer, critic
In Vince Clemente, “‘A Man Is What He Does With His Attention’: A Conversation with John Ciardi,” Poesis, Vol. 7 #2 (1986)
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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.
Elizabeth Bowen (1899-1973) Irish author
Letter to Graham Greene, quoted in Why Do I Write? (1948)
Ellipses in the original.
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)
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The murderer, the victim, the witness, each of us thinks our role is the lead.
Chuck Palahniuk (b. 1962) American novelist and freelance journalist
Invisible Monsters, ch. 1 (1999)
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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)
Artists don’t so much object to aesthetic discipline. Architects will design theatres or churches equally readily, writers will switch from the three-volume novel to the one-volume, or from the play to the film, according to the demand. 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 journalist, essayist, writer [pseud. of Eric Arthur Blair]
Essay (1944-10-13), “As I Please” column, Tribune Newspaper
(Source)
On the limits of public support for the arts.
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.
All art is propaganda. It is universally and inescapably propaganda; sometimes unconsciously, but often deliberately, propaganda.
As commentary on the above, we add, that when artists or art critics make the assertion that art excludes propaganda, what they are saying is that their kind of propaganda is art, and other kinds of propaganda are not art. Orthodoxy is my doxy, and heterodoxy is the other fellow’s doxy.
Upton Sinclair (1878-1968) American writer, journalist, activist, politician
Mammonart, ch. 2 “Who Owns the Artists?” (1925)
(Source)
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 (according to Nathan):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.
There are many variants by different creators who have referenced the quip, sometimes causing it to be attributed to them instead. More discussion on this quotation's origins and variations: Quote Origin: I Did It For My Own Pleasure. Then I Did It For My Friends. Now I Do It For Money – Quote Investigator®.
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, poet, wit
“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.
A work of art has an author and yet, when it is perfect, it has something which is essentially anonymous about it.
Simone Weil (1909-1943) French philosopher
Gravity and Grace [La Pesanteur et la Grâce], “Beauty” (1947) [ed. Thibon] [tr. Crawford/von der Ruhr (1952)]
(Source)
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.
Chuck Palahniuk (b. 1962) American novelist and freelance journalist
Diary (2003)
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.
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 (1666) [tr. Wilbur (1954)]
(Source)
(Source (French)). Alternate translations:One may be a perfect gentleman, and write bad verses; those things have nothing to do with honour. I take him to be a gallant man in every way; a man of standing, of merit, and courage, anything you like, but he is a wretched author.
[tr. Van Laun (1878)]One may be an excellent man, and yet write bad verses. Honour is not affected by such things. I esteem him a gallant man in all respects, a man of quality, merit, and courage; all you please, but he is a very bad author.
[tr. Mathew (1890)]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)]One may be a perfect gentleman and yet write bad verses; these things have no concern with honolur. I believe him to be an honourable man in every way; a man of standing, of merit, of courage, anything you like, but he is a miserable author.
[tr. Waller (1903)]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)]One can be virtuous and a wretched poet;
That's not a matter to affect one's honor.
I think him an accomplished gentleman,
A man of rank, merit, and character,
Whatever you like; but he's a dreadful author.
[tr. Bishop (1957)]Even a gentleman can write bad verse.
These things concern our honor not a whit.
That he's a gentleman I do admit,
A man of quality, merit, and heart,
All that you like -- his authorship apart.
[tr. Frame (1967)]Anyone may be an honorable man, and yet write verse badly.
[ed. Bartlett (1992)]
Good authors, too, who once knew better words
Now only use four-letter words
Writing prose.
Anything goes!Cole Porter (1891-1964) American composer and songwriter
“Anything Goes” (1934)
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.
You want to cry aloud for your
mistakes. But to tell the truth the world
doesn’t need any more of that sound.Mary Oliver (1935-2019) American poet
“The Poet With His Face in His Hands,” New Yorker (4 Apr 2005)
(Source)
Collected in New and Selected Poems, Vol. 2 (2005), and The Best American Poetry, 2006.
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."
I hate writing. I love having written.
Dorothy Parker (1893-1967) American writer, poet, wit
(Spurious)
Not found in any of Parker's works, and not attributed to her until several years after her death. The earliest rendition of a thought like this ("Don't like to write, but like having written") comes from novelist Frank Norris in a posthumous letter published in "The Bellman's Book Plate: The Writing Grind," The Bellman (4 Dec 1915).
More discussion here: Don’t Like to Write, But Like Having Written – Quote Investigator.
See also Pratchett.
My feeling about technique in art is that it has about the same value as technique in love-making. That is to say, on the one hand, heartfelt ineptitude has its appeal and, on the other hand, so does heartless skill; but what you want is passionate virtuosity.
John Barth (1930-2024) American writer
“An Interview with John Barth,” by Alan Prince and Ian Carruthers, Prism (Spring 1968)
(Source)
The quotation from the interview (originally credited only to Prince) was also included in the inside dust cover of Barth's short story collection, Lost in the Funhouse (1968), and is sometimes cited to that book.
The longer quote was paraphrased to the form in the graphic above on the dust cover of Charles B. Harris, Passionate Virtuosity: The Fiction of John Barth (1983):In art as in lovemaking, heartfelt ineptitude has its appeal and so does heartless skill, but what you want is passionate virtuosity.
Harris later gives the full quotation inside his book.
Also used by Barth in "Dunyazadiad," Esquire (1972-07-01), reprinted in Chimera (1972):Heartfelt ineptitude has its appeal, Dunyazade; so does heartless skill. But what you want is passionate virtuosity.
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.
Jean-Luc Godard (b. 1930) French-Swiss film director, screenwriter, critic
(Attributed)
I never saw an author in my life — saving perhaps one — that did not purr as audibly as a full-grown domestic cat on having his fur smoothed the right way by a skillful hand.
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.
Leo Tolstoy (1828-1910) Russian novelist and moral philosopher
Letter
Writing to a friend about Anna Karenina, and how he had rewritten a conversation (Part 4, ch. 1) between Levin and the priest four times, to hide which one he favored.
Art is an adventure. When it ceases to be an adventure, it ceases to be art.
Robert Ardrey (1908-1980) American playwright, screenwriter and science writer
The Hunting Hypothesis: A Personal Conclusion Concerning the Evolutionary Nature of Man (1976)
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.
Gustave Flaubert (1821-1880) French writer, novelist
Letter to Louise Colet (9 Dec 1852)
(Source)
In a later letter to Leoroyer de Chanepie (18 Mar 1857), he repeated the sentiment: "The artist must be in his work as God is in creation, invisible and all-powerful; one must sense him everywhere but never see him."
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)
I’m not interested in writing short stories. Anything that doesn’t take years of your life and drive you to suicide hardly seems worth doing.
Cormac McCarthy (1933-2023) American novelist, playwright, screenwriter
“Hollywood’s Favorite Cowboy,” interview with John Jurgensen, The Wall Street Journal (20 Nov 2009)
(Source)
H.G. Wells said that history was a race between education and catastrophe, and it may be that the writer will add just sufficient impetus to education to enable it to outrace catastrophe. And if education wins by even the narrowest of margins, how much more can we ask for?
Novels aren’t written, they’re rewritten. It is one of the hardest things to accept, especially after the seventh rewrite hasn’t quite done it.
Michael Crichton (1942-2008) American author, producer, director, and screenwriter
(Attributed)
Crichton was quoted a number of times on the adage, which he in turn claimed was in more general use. However, he seems to have been key in popularizing it. See here for more discussion and specific citations.
An author is like a horse pulling a coal-cart down an icy hill; he ought to stop, but when he reflects that it would probably kill him to try, he goes right on, neighing and rolling his eyes.
Robertson Davies (1913-1995) Canadian author, editor, publisher
The Enthusiasms of Robertson Davies (1990)
If you only write when inspired, you may be a fairly decent poet, but you’ll never be a novelist.
Neil Gaiman (b. 1960) British author, screenwriter, fabulist
(Attributed)
The author is like the host at a party. It is his party, but he must not enjoy himself so much that he neglects his guests. His enjoyment is not so much his own as it is theirs.
Charles P. Curtis (1891-1959) American attorney, legal scholar, author [Charles Pelham Curtis, Jr.]
A Commonplace Book (1957)
(Source)
To Herbert Westbrook, without whose never-failing advice, help, and encouragement, this book would have been finished in half the time.
P. G. Wodehouse (1881-1975) Anglo-American humorist, playwright and lyricist [Pelham Grenville Wodehouse]
A Gentleman of Leisure, Dedication (1910)
(Source)
I’ve learned to write in the first-person singular while remembering always that my writing must speak to the first-person plural.
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)
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)
A real writer learns from earlier writers the way a boy learns from an apple orchard — by stealing what he has a taste for and can carry off.
Archibald MacLeish (1892–1982) American poet, writer, statesman
In Charles Poore, “Mr. MacLeish and the Disenchantmentarians,” The New York Times (25 Jan 1968)
(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.
Rita Mae Brown (b. 1944) American author, playwright
Starting from Scratch, Part 4 (1988)
(Source)
Brown popularized the phrase, but it had been expressed before. More information: Good Judgment Depends Mostly on Experience and Experience Usually Comes from Poor Judgment – Quote Investigator.
Colors fade, temples crumble, empires fall, but wise words endure.
Edward Thorndike (1874-1949) American psychologist, educator
(Attributed)
Yet soft, my books, no haste, nor hurry fate;
If fame must wait on death, then let it wait.[Vos tamen o nostri ne festinate libelli:
Si post fata venit gloria, non propero.]Martial (AD c.39-c.103) Spanish Roman poet, satirist, epigrammatist [Marcus Valerius Martialis]
Epigrams [Epigrammata], Book 5, epigram 10 (5.10.11-12) (AD 90) [tr. Pott & Wright (1921)]
(Source)
Compare to Epigram 1.25.
"To Regulus." (Source (Latin)). Alternate translations:But haste not you (my Bookes) for Fame, to whom
Tis soone enough if after death it come.
[tr. May (1629)]Let others to the Printing Presse run fast.
Since after death comes glory, Ile not haste.
[tr. Herrick (1648)]O my small books, ne'er hasten to go out:
If praise come after death, I'll not go on.
[tr. Fletcher (1656)]Yet you (my Bookes!) hast not to much, I pray:
If fame come not till after death, I'll stay.
[British Library MS Add. 27343]With patience then, my Muse, to glory hy:
If after death she come, I shall not dy.
[tr. Elphinston (1782), 3.62]Do not, however, you little books of mine, be in haste for fame:
if glory comes only after death, I am in no hurry for it.
[tr. Bohn's Classical (1859)]If I gain fame after my death, I am content to wait.
[tr. Paley/Stone (1890), ep. 221]Therefore, little books of mine,
Haste not; if glory comes but after death,
I'll wait awhile for glory.
[ed. Harbottle (1897)]Pray, my impatient Muse, don't worry.
If death's due first, I'm in no hurry.
[tr. Francis & Tatum (1924), ep. 221]Impatient little books of verse
For the plaudits of the universe,
If fame comes only after death,
Let's pause and rest, and catch our breath.
[tr. Marcellino (1968)]But there's no cause, my little books, to worry:
If glory must be posthumous, why hurry?
[tr. Michie (1972)]So, little books, let's not rush to our fate.
Since death comes before glory, let's be late.
[tr. Matthews (1992)]So be calm, my Muse -- no need to rush or fret:
If death must precede fame, I'll not be famous yet.
[tr. Ericsson (1995)]If I must die to get my fame,
I gladly will put off the same.
[tr. Wills (2007)]Then be content, my books, to be slow paced;
Death before glory means -- no need for haste.
[tr. Pitt-Kethley (2008)]But you, my little books, don’t hurry:
if glory comes only after death, I will not rush.
[tr. Robinson (2022)]If glory comes after death, I hurry not.
[tr. Rush]
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.
Neil Gaiman (b. 1960) British author, screenwriter, fabulist
“This Much I Know,” The Guardian (2017-08-05)
(Source)
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.
Neil Gaiman (b. 1960) British author, screenwriter, fabulist
“This Much I Know,” The Guardian (2017-08-05)
(Source)
Why fight off fame now beating at your door?
What other writers dare to promise more?
You must make immortality start now,
Not make it wait to give your corpse a bow.[Ante fores stantem dubitas admittere Famam
Teque piget curae praemia ferre tuae?
Post te victurae per te quoque vivere chartae
Incipiant: cineri gloria sera venit.]Martial (AD c.39-c.103) Spanish Roman poet, satirist, epigrammatist [Marcus Valerius Martialis]
Epigrams [Epigrammata], Book 1, epigram 25 (1.25.5-8) (AD 85-86) [tr. Wills (2007)]
(Source)
"To Faustinus." (Source (Latin)). Some early writers number this as ep. 26, as noted. Alternate translations:Wilt not admit fame standing at thy doore?
And take the fruit of all thy paines before?
Fame to the Urne comes late; let those Books live
With thee, which after life to thee must give.
[tr. May (1629), 1.26]Dost doubt t'admit Fame standing at thy gate?
Thy labour's just reward to bear, dost hate?
That which will after, in thy time let live:
Too late men praise unto our ashes give.
[tr. Killigrew (1695)]Fame at your portal waits; the door why barr'd?
Why loth to take your labour's just reward?
Let works live with you, which will long survive;
For honours after death too late arrive.
[tr. Hay (1755), 1.26]Admit fair fame, who dances at thy door;
And dain to reap thyself thy toil's reward.
The strains that shall survive thee, give to soar;
Nor to thine ashes leave the late record.
[tr. Elphinston (1782), 2.34]Do you hesitate to let in Fame when standing for admittance before your threshold, and does it grieve you to reap the rewards of your own diligence? May your poems, which will survive you, begin to live by your means. The glory which is shed upon ashes arrives full late.
[tr. Amos (1858), 1.26 "Posthumous Works"]Do you hesitate to admit Fame, who is standing before your door; and does it displease you to receive the reward of your labour? Let the writings, destined to live after you, begin to live through your means. Glory comes too late, when paid only to our ashes.
[tr. Bohn's Classical (1859)]If after thee thy verses are to live,
Let them begin whilst thou'rt alive. Too late
The glory that illumines but they tomb.
[ed. Harbottle (1897)]Do you hesitate to admit Fame that stands before your doors, and shrink from winning the reward of your care? Let writings that will live after you by your adi also begin to live now; to the ashes of the dead glory comes too late.
[tr. Ker (1919)]Nay, doth it irk you that reward is nigh?
Why bar out fame who standeth at the gate?
Give birth to what must live, before you die,
For honour paid to ashes comes too late.
[tr. Pott & Wright (1921)]Fame stands before your threshold, let her in;
Are you ashamed your meed of praise to win?
Your books will long outlive you in their fame;
Come then, begin, for ashes have no name.
[tr. Francis & Tatum (1924), #14]Tell me why you hesitate;
Fame is standing at your door.
Take the prize she long has offered,
Long has held for you in store!
Let works that will survive you after
You have trod the path so dread
Live now, while you still are living.
Fame comes too late to the dead.
[tr. Marcellino (1968)]Fame is at the door,
and you keep her waiting.
You can't bring yourself to accept
the reward of your worry?
Hurry!
Let those pages begin to live -- show your face.
They will live on after you're gone in any case.
[tr. Bovie (1970)]Do you hesitate to let Fame in when she stands at your door? Are you reluctant to take the reward for your pains? Your pages will live after you; let them also begin to live through you. Glory comes late to the grave.
[tr. Shackleton Bailey (1993)]
Amos (above) provides a number of examples where the last line has inspired other writers. Byron wrote, in the same vein, in "Martial, Lib. I, Epig. I" (c. 1821):He unto whom thou art so partial,
O reader! is the well-known Martial,
The Epigrammatist: while living
Give him the fame thou wouldst be giving;
So shall he hear, and feel, and know it --
Post-obits rarely reach a poet.
Strict censure may this harmless sport endure:
My page is wanton, but my life is pure.[Innocuos censura potest permittere lusus:
Lasciva est nobis pagina, vita proba.]Martial (AD c.39-c.103) Spanish Roman poet, satirist, epigrammatist [Marcus Valerius Martialis]
Epigrams [Epigrammata], Book 1, epigram 4 (1.4.7-8) (AD 85-86) [tr. Duff (1929)]
(Source)
An appeal to Emperor Domitian, who became censor-for-life in AD 85.
(Source (Latin)). Alternate translations:Wantons we are; and though our words be such,
Our Lives do differ from our Lines by much.
[tr. Herrick (1648)]The Censor does with harmless Pastime bear;
My Leaves are wanton, but my Life’s severe.
[tr. Killigrew (1695)]The censorship may tolerate innocent jokes:
my page indulges in freedoms, but my life is pure.
[tr. Bohn's Classical (1859)]Licentious though my page, my life is pure.
[ed. Harbottle (1897)]A censor can permit harmless trifling:
wanton is my page; my life is good.
[tr. Ker (1919)]From censure may my harmless mirth be free,
My page is wanton but my life is clean.
[tr. Pott & Wright (1921)]Your censure well such license may endure;
My page is wanton, but my life is pure.
[tr. Francis & Tatum (1924)]The censor passes the risqué parts in a play
and my pages can be very gay
without my being that way.
[tr. Bovie (1970)]Harmless wit
You may, as Censor, reasonably permit:
My life is strict, however lax my page.
[tr. Michie (1972)]A censor can permit harmless jollity. My page is wanton, but my life is virtuous.
[tr. Shackleton Bailey (1993)]A censor can relax, wink just one eye:
My poetry is filthy -- but not I.
[tr. Wills (2007)]As Censor, you can exercise discretion: my jokes hurt no one; let them be. My page may be dirty, but my life is clean.
[tr. Nisbet (2015)]Let not these harmless sports your censure taste:
My lines are wanton, but my life is chaste.
[tr. 17th C Manuscript]These games are harmless, censor: let them pass.
My poems play around; but not my life.
[tr. Elliot]
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 by 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. They 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 journalist, essayist, writer [pseud. of Eric Arthur Blair]
Essay (1946-04), “Politics and the English Language,” Horizon Magazine
(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 journalist, essayist, writer [pseud. of Eric Arthur Blair]
Essay (1946-04), “Politics and the English Language,” Horizon Magazine
(Source)
Writing advice for "expressing and not for concealing or preventing thought."
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.
[Tief sein und tief scheinen. — Wer sich tief weiss, bemüht sich um Klarheit; wer der Menge tief scheinen möchte, bemüht sich um Dunkelheit. Denn die Menge hält Alles für tief, dessen Grund sie nicht sehen kann: sie ist so furchtsam und geht so ungern in’s Wasser.]
Friedrich Nietzsche (1844-1900) German philosopher and poet
The Gay Science [Die fröhliche Wissenschaft], Book 3, § 173 (1882) [tr. Kaufmann (1974)]
(Source)
Also known as La Gaya Scienza, The Joyful Wisdom, or The Joyous Science. (Source (German)). Alternate translations:To Be Profound and to Appear Profound. -- He who knows that he is profound strives for clearness; he who would like to appear profound to the multitude strives for obscurity. The multitude thinks everything profound of which it cannot see the bottom; it is so timid and goes so unwillingly into the water.
[tr. Common (1911)]Being Deep and Seeming Deep. -- Those who know they are deep strive for clarity. Those who would like to seem deep to the crowd strive for obscurity. For the crowd takes everything whose ground it cannot see to be deep; it is so timid and so reluctant to go into the water.
[tr. Nauckhoff (2001)]Being Profound and Being Thought Profound -- Whoever knows that he is profound strives for clarity; whoever would like the crowd to think he is profound strives for obscurity. The reason for this is that the crowd thinks something is profound whenever it cannot see to the bottom of it; it is afraid of the water and hates to get its feet wet.
[tr. Hill (2018)]Being Deep and Appearing Deep -- Whoever knows he is deep, strives for clarity; whoever would like to appear deep to the crowd, strives for obscurity. For the crowd considers anything deep if only it cannot see to the bottom: the crowd is so timid and afraid of going into the water.
[Source]Whoever knows himself to be deep strives for clarity; whoever wants to appear deep to the masses strives for obscurity. For the masses consider anything to be deep that they cannot see the bottom of.
[Source]
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 journalist, essayist, writer [pseud. of Eric Arthur Blair]
Essay (1946-04), “Politics and the English Language,” Horizon Magazine
(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)
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)
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 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
“Quotation and Originality,” Letters and Social Aims (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)
(Source)
Never does a man portray his own character more vividly than in his manner of portraying another’s.
[Nie zeichnet der Mensch den eignen Charakter schärfer als in seiner Manier, einen fremden zu zeichnen.]
Jean Paul Richter (1763-1825) German writer, art historian, philosopher, littérateur [Johann Paul Friedrich Richter; pseud. Jean Paul]
Titan, Jubilee 28, cycle 110 (1803) [tr. Brooks (1863)]
(Source)
(Source (German)). Alternate translation:A man never reveals his character more vividly than when portraying the character of another.
[E.g. (1960); E.g. (1962)]
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)
Often the fear of one evil leads us into a worse.
[Souvent la peur d’un mal nous conduit dans un pire.]
Nicolas Boileau-Despréaux (1636-1711) French poet and critic
The Art of Poetry [L’Art Poétique], Canto 1, l. 64 (1674)
(Source)
(Source (French)).
Though this sounds like a profound philosophical comment, in reality it refers to writers overcompensating for problems in their work. Soame (1892) translates this and the following line thus:A verse was weak, you turn it much too strong.
And grow obscure for fear you should be long.
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, aphorist [pseud. of Henry Wheeler Shaw]
(Attributed)
Quoted in Donald Day, Uncle Sam's Uncle Josh (1972 ed., 1st pub. 1953).
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 author, screenwriter, 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)
I have one word to say upon the subject of profound writers, who are grown very numerous of late; and I know very well the judicious world is resolved to list me in that number. I conceive therefore, as to the business of being profound, that it is with writers as with wells — a person with good eyes may see to the bottom of the deepest, provided any water be there: and often when there is nothing in the world at the bottom besides dryness and dirt, though it be but a yard and a-half under-ground, it shall pass, however, for wondrous deep upon no wiser reason than because it is wondrous dark.
Jonathan Swift (1667-1745) English writer and churchman
A Tale of a Tub (1704)
I know I was writing stories when I was five. I don’t know what I did before that. Just loafed, I suppose.
P. G. Wodehouse (1881-1975) Anglo-American humorist, playwright and lyricist [Pelham Grenville Wodehouse]
“The Art of Fiction #60,” interview with Gerald Clarke, The Paris Review (Winter 1975)
(Source)
Each writer is born with a repertory company in his head. Shakespeare has perhaps twenty players, and Tennessee Williams has about five, and Samuel Beckett one — and maybe a clone of that one. I have ten or so, and that’s a lot. As you get older, you become more skillful at casting them.
Gore Vidal (1925-2012) American novelist, dramatist, critic
Time (17 Apr 1978)
Don’t write so you can be understood. Write so that you cannot be misunderstood.
Quintilian (39-90) Roman orator [Marcus Fabius Quintilianus]
De Institutione Oratoria, Book 8, ch. 2, l. 24
Alt. trans.: "We should not write so that it is possible for [the reader] to understand us, but so that it is impossible for him to misunderstand us."
Also attributed to Epictetus, Francis Bacon, Robert Louis Stevenson, Ralph Waldo Emerson, and William Taft.
You must understand the whole of life, not just one little part of it. That is why you must read, that is why you must look at the skies, that is why you must sing and dance, and write poems and suffer and understand, for all that is life.
Jiddu Krishnamurti (1895-1986) Indian philosopher, mystic, orator
Think on These Things, Part 1, ch. 3 (1963)
(Source)
We all die. The goal isn’t to live forever, the goal is to create something that will.
Chuck Palahniuk (b. 1962) American novelist and freelance journalist
Diary [Grace] (2003)
Truth is stranger than fiction, but it is because Fiction is obliged to stick to possibilities; Truth isn’t.
Mark Twain (1835-1910) American writer [pseud. of Samuel Clemens]
Following the Equator, ch. 15, epigraph, “Pudd’nhead Wilson’s New Calendar” (1897)
(Source)
How do you finish them? You finish them. There’s no magic answer, I’m afraid. This is how you do it: you sit down at the keyboard and you put one word after another until it’s done. It’s that easy, and that hard.
Neil Gaiman (b. 1960) British author, screenwriter, fabulist
Blog entry (2004-05-02), “Pens, Rules, Finishing Things, and Why Stephin Merritt is not Grouchy”
(Source)
On finishing stories.
The best time for planning a book is while you’re doing the dishes.
Agatha Christie (1890-1976) English writer
(Attributed)
There are three rules for writing a novel. Unfortunately, no one knows what they are.
W. Somerset Maugham (1874-1965) English novelist and playwright [William Somerset Maugham]
(Attributed)
The earliest (uncited) attribution is from 1977. More discussion here.
The hardest part is starting to write.
Michael Crichton (1942-2008) American author, producer, director, and screenwriter
(Attributed)
Immature poets imitate; mature poets steal.
T. S. Eliot (1888-1965) American-British poet, critic, playwright [Thomas Stearns Eliot]
“Philip Massinger,” The Sacred Wood (1920)
It is certain that I cannot always distinguish my own thoughts from those I read, because what I read becomes the very substance and text of my mind.
Helen Keller (1880-1968) American author and lecturer
(Attributed)
After being accused of plagiarism. In James R. Kincaid, "Purloined Letters," New Yorker (20 Jan 1997)
Write while the heat is in you. When the farmer burns a hole in his yoke, he carries the hot iron quickly from the fire to the wood, for every moment is less effectual to penetrate (pierce) it. It must be used instantly or it is useless. The writer who postpones the recording of his thoughts uses an iron which has cooled to burn a hole with. He cannot inflame the minds of his audience.
Henry David Thoreau (1817-1862) American philosopher and writer
Journal (10 Feb 1852)
If you steal from one author, it’s plagiarism; if you steal from many, it’s research.
Wilson Mizner (1876-1933) American screenwriter and wit
In Alva Johnson, The Legendary Mizners, ch. 4 (1953)
Books are the carriers of civilization. Without books, history is silent, literature, dumb, science crippled, thought and speculation at a standstill. Without books, the development of civilization would have been impossible. The are engines of change (as the poet said), windows on the world, and lighthouses erected in the sea of time. They are companions, teachers, magicians, bankers of the treasures of the mind. Books are humanity in print.
Barbara W. Tuchman (1912-1989) American historian and author
“The Book,” Lecture, Library of Congress (1979-10-17)
(Source)
Reprinted in Authors' League Bulletin (1979-11/12) and as "Papyrus to Paperbacks: The World That Books Made," Washington Post (1979-12-30).
Poetry is to prose as dancing is to walking.
John Wain (1925-1994) English poet, novelist, critic
Radio broadcast, BBC, London (13 Jan 1976)
Songwriting is about getting the demon out of me. It’s like being possessed. You try to go to sleep, but the song won’t let you. So you have to get up and make it into something, and then you’re allowed to sleep. It’s always in the middle of the bloody night, or when you’re half-awake or tired, when your critical faculties are switched off. So letting go is what the whole game is.
John Lennon (1940-1980) English rock musician, singer, songwriter
Interview, Playboy (Sep 1980)
Creativity is merely a plus name for regular activity; the ditchdigger, dentist, and artist go about their tasks in much the same way, and any activity becomes creative when the doer cares about doing it right, or better.
I loved coming to the US in 1992, mostly because I loved the idea that freedom of speech was paramount. I still do. With all its faults, the US has Freedom of Speech. The First Amendment states that you can’t be arrested for saying things the government doesn’t like. You can say what you like, write what you like, and know that the remedy to someone saying or writing or showing something that offends you is not to read it, or to speak out against it. I loved that I could read and make my own mind up about something.
Neil Gaiman (b. 1960) British author, screenwriter, fabulist
Blog entry (2008-12-01), “Why defend freedom of icky speech?”
(Source)
So, why do you write these strong female characters?
Because you’re still asking me that question.
Joss Whedon (b. 1964) American screenwriter, author, producer [Joseph Hill Whedon]
Equality Now Tribute Address (15 May 2006)
(Source)
Next to doing things that deserve to be written, there is nothing that gets a man more credit, or gives him more pleasure, than to write things that deserve to be read.
Lord Chesterfield (1694-1773) English statesman, wit [Philip Dormer Stanhope]
Letter to his son, #44 (1740?)
(Source)
The enemy of art is the absence of limitations.
Orson Welles (1915-1985) American writer, director, actor
Comment to Henry Jaglom
Quoted by Jaglom in his essay "The Independent Filmmaker" in Jason E. Quire, ed. The Movie Business Book (1992). See here for more information. Sometimes paraphrased in reverse ("The absence of limitations is the enemy of art").
The reason that fiction is more interesting than any other form of literature, to those who really like to study people, is that in fiction the author can really tell the truth without humiliating himself.
Eleanor Roosevelt (1884–1962) First Lady of the US (1933–1945), politician, diplomat, activist
(Attributed)
Books may preach when the author cannot, when the author may not, when the author dares not, yes, and which is more, when the author is not.
Thomas Brooks (1608-1680) English Puritan divine, writer
Heaven on Earth (1654)
We may have an excellent Ear in Musick, without being able to perform in any kind. We may judge well of Poetry, without being Poets, or possessing the least of a Poetick Vein: But we can have no tolerable Notion of Goodness, without being tolerably good.
Anthony Cooper, 3rd Earl of Shaftesbury (1671-1713) English politician and philosopher
Characteristicks of Men, Manners, Opinions, Times, Vol. 1, “A Letter Concerning Enthusiasm” (1711)
Journalism is a good place for any writer to start — the retelling of fact is always a useful trade and can it help you learn to appreciate the declarative sentence. A young writer is easily tempted by the allusive and ethereal and ironic and reflective, but the declarative is at the bottom of most good writing.
I began my talk by saying that I had not written my plays for purposes of discussion. At once, I felt a ripple of panic run through the hall. I suddenly realised why. To everyone present, discussion was the whole point of drama. That was why the faculty had been endowed — that was why all those buildings had been put up! I had undermined the entire reason for their existence.
Tom Stoppard (1937-2025) Czech-English playwright and screenwriter
In Kenneth Tynan, “Tom Stoppard,” The New Yorker (19 Dec 1977)
Don’t panic. Midway through writing a novel, I have regularly experienced moments of bowel-curdling terror, as I contemplate the drivel on the screen before me and see beyond it, in quick succession, the derisive reviews, the friends’ embarrassment, the failing career, the dwindling income, the repossessed house, the divorce … Working doggedly on through crises like these, however, has always got me there in the end. Leaving the desk for a while can help. Talking the problem through can help me recall what I was trying to achieve before I got stuck. Going for a long walk almost always gets me thinking about my manuscript in a slightly new way. And if all else fails, there’s prayer. St Francis de Sales, the patron saint of writers, has often helped me out in a crisis. If you want to spread your net more widely, you could try appealing to Calliope, the muse of epic poetry, too.
Sarah Waters (b. 1966) Welsh novelist
In “Ten Rules for Writing Fiction,” The Guardian (20 Feb 2010)
(Source)
You know that sickening feeling of inadequacy and over-exposure you feel when you look upon your own empurpled prose? Relax into the awareness that this ghastly sensation will never, ever leave you, no matter how successful and publicly lauded you become. It is intrinsic to the real business of writing and should be cherished.
Will Self (b. 1961) English author, journalist, television personality
In “Ten Rules for Writing Fiction,” The Guardian (20 Feb 2010)
(Source)
If you get stuck, get away from your desk. Take a walk, take a bath, go to sleep, make a pie, draw, listen to music, meditate, exercise; whatever you do, don’t just stick there scowling at the problem. But don’t make telephone calls or go to a party; if you do, other people’s words will pour in where your lost words should be. Open a gap for them, create a space. Be patient.
Hilary Mantel (b. 1952) English writer
In “Ten Rules for Writing Fiction,” The Guardian (20 Feb 2010)
(Source)
HENRY: I don’t think writers are sacred, but words are. They deserve respect. If you get the right ones in the right order, you might nudge the world a little or make a poem that children will speak for you when you are dead.
Tom Stoppard (1937-2025) Czech-English playwright and screenwriter
The Real Thing, Act 2, sc. 5 (1982)
(Source)
Concentrate your narrative energy on the point of change. This is especially important for historical fiction. When your character is new to a place, or things alter around them, that’s the point to step back and fill in the details of their world. People don’t notice their everyday surroundings and daily routine, so when writers describe them it can sound as if they’re trying too hard to instruct the reader.
Hilary Mantel (b. 1952) English writer
In “Ten Rules for Writing Fiction,” The Guardian (20 Feb 2010)
(Source)
All styles are good, except the tiresome kind.
Voltaire (1694-1778) French writer [pseud. of Francois-Marie Arouet]
L’Enfant prodigue, Preface (1736)
Write a book you’d like to read. If you wouldn’t read it, why would anybody else?
Hilary Mantel (b. 1952) English writer
In “Ten Rules for Writing Fiction,” The Guardian (20 Feb 2010)
(Source)
Style is the garb of thought.
Seneca the Younger (c. 4 BC-AD 65) Roman statesman, philosopher, playwright [Lucius Annaeus Seneca]
Moral Letters to Lucilius [Epistulae morales ad Lucilium], letter 95 “On the Superficial Blessings,” sec. 2 [tr. Gummere (1918)]
A character is never the author who created him. It is quite likely, however, that an author may be all his characters simultaneously.
Albert Camus (1913-1960) Algerian-French novelist, essayist, playwright
The Rebel, Part 2 “Metaphysical Rebellion” (1951)
A remark made about the Marquis de Sade.
To live is to war with trolls in heart and soul.
Henrik Ibsen (1828-1906) Norwegian poet and playwright
Letter to Ludwig Passarge (16 Jun 1890)
Discussing Peter Gynt, which Passarge was translating. Often paraphrased "To live is to war against the trolls."
All worthy work is open to interpretations the author did not intend. Art isn’t your pet — it’s your kid. It grows up and talks back to you.
Joss Whedon (b. 1964) American screenwriter, author, producer [Joseph Hill Whedon]
“I Am Joss Wedon — AMA,” Reddit (10 Apr 2012)
(Source)
On fan fiction and academic analysis.
A good style should show no signs of effort. What is written should seem a happy accident.
W. Somerset Maugham (1874-1965) English novelist and playwright [William Somerset Maugham]
The Summing Up, ch. 13 (1938)
(Source)
Style has to do with the way in which ideas are believed and advocated rather than with the truth or falsity of their content.
Richard Hofstadter (1916-1970) American historian and intellectual
“The Paranoid Style in American Politics,” Herbert Spencer Lecture, Oxford (Nov 1963)
(Source)
Reprinted in Harpers (Nov 1964).Often misattributed to Douglas Hofstadter.
A novel is never anything but a philosophy put into images. And in a good novel, the whole of the philosophy has passed into the images. But if once the philosophy overflows the characters and action, and therefore looks like a label stuck on the work, the plot loses its authenticity and the novel its life. Nevertheless, a work that is to last cannot dispense with profound ideas. And this secret fusion between experiences and ideas, between life and reflection on the meaning of life, is what makes the great novelist.
Albert Camus (1913-1960) Algerian-French novelist, essayist, playwright
Review of Jean-Paul Sartre, Nausea, in Alger Républicain (20 Oct 1938)
The Muse was suddenly there for Dad.
The Truth lay easy in his mind.
The Subconscious lay saying its say, untouched, and flowing off his tongue.
As we must learn to do in our writing.
As we can learn from every man or woman or child around us when, touched and moved, they tell of something they loved or hated this day, yesterday, or some other day long past. At a given moment, the fuse, after sputtering wetly, flares and the fireworks begin.
Oh, it’s limping crude hard work for many, with language in their way. But I have heard farmers tell about their very first wheat crop on their first farm after moving from another state, and if it wasn’t Robert Frost talking, it was his cousin, five times removed. I have heard locomotive engineers talk about America in the tones of Thomas Wolfe who rode our country with his style as they ride it in their steel. I have heard mothers tell of the long night with their firstborn when they were afraid that they and the baby might die. And I have heard my grandmother speak of her first ball when she was seventeen. And they were all, when their souls grew warm, poets.Ray Bradbury (1920-2012) American writer, futurist, fabulist
“How to Keep and Feed a Muse,” The Writer (1961-07)
(Source)
Reprinted in Bradbury, Zen in the Art of Writing (1990).
If the thought or substance is fully mastered, the style will take care of itself. Good style in writing is like happiness in living — something that comes to you, if it comes at all, only if you are pre-occupied with something else: if you deliberately go after it, you will probably not get it.
Carl L. Becker (1873-1945) American historian
“The Art of Writing,” Detachment and the Writing of History [ed. Snyder (1958)]
Every secret of a writer’s soul, every experience of his life, every quality of his mind, is written large in his works.
Virginia Woolf (1882-1941) English modernist writer [b. Adeline Virginia Stephen]
Orlando: A Biography, ch. 4 (1928)
(Source)
If you do not tell the truth about yourself you cannot tell it about other people.
Virginia Woolf (1882-1941) English modernist writer [b. Adeline Virginia Stephen]
“The Leaning Tower,” Lecture, Workers’ Educational Association, Brighton (May 1940)
The main rule of writing is that if you do it with enough assurance and confidence, you’re allowed to do whatever you like. (That may be a rule for life as well as for writing. But it’s definitely true for writing.) So write your story as it needs to be written. Write it honestly, and tell it as best you can. I’m not sure that there are any other rules. Not ones that matter.
Neil Gaiman (b. 1960) British author, screenwriter, fabulist
In “Ten Rules for Writing Fiction,” The Guardian (20 Feb 2010)
(Source)
Once you begin to take yourself seriously as a leader or as a follower, as a modern or as a conservative, then you become a self-conscious, biting, and scratching little animal whose work is not of the slightest value or importance to anybody.
Virginia Woolf (1882-1941) English modernist writer [b. Adeline Virginia Stephen]
“A Letter to a Young Poet,” The Death of the Moth and Other Essays (1942)
Remember that, sooner or later, before it ever reaches perfection, you will have to let it go and move on and start to write the next thing. Perfection is like chasing the horizon. Keep moving.
Neil Gaiman (b. 1960) British author, screenwriter, fabulist
In “Ten Rules for Writing Fiction,” The Guardian (20 Feb 2010)
(Source)
Readers usually grossly underestimate their own importance. If a reader cannot create a book along with the writer, the book will never come to life. Creative involvement: that’s the difference between reading a book and watching TV. In watching TV, we are passive — sponges; we do nothing. In reading, we must become creators, imagining the setting of the story, seeing the facial expressions, hearing the inflection of the voices. The author and the reader “know” each other; they meet on the bridge of words.
Madeleine L'Engle (1918-2007) American writer
Walking on Water: Reflections on Faith and Art (1982)
Remember: when people tell you something’s wrong or doesn’t work for them, they are almost always right. When they tell you exactly what they think is wrong and how to fix it, they are almost always wrong.
Neil Gaiman (b. 1960) British author, screenwriter, fabulist
In “Ten Rules for Writing Fiction,” The Guardian (20 Feb 2010)
(Source)
Great writing is the world’s cheapest special effect.
Teresa Nielsen Hayden (b. 1956) American editor, writer, essayist
Making Light, “Commonplaces”
(Source)
Among the tortures and devastations of life is this then — our friends are not able to finish their stories.
Virginia Woolf (1882-1941) English modernist writer [b. Adeline Virginia Stephen]
The Waves (1931)
The only happy author in this world is he who is below the care of reputation.
Washington Irving (1783-1859) American author [pseud. for Geoffrey Crayon]
Tales of a Traveler, Part 2 “The Poor-Devil Author” (1824)
The most original modern authors are not so because they advance what is new, but simply because they know how to put what they have to say, as if it had never been said before.
Johann Wolfgang von Goethe (1749-1832) German poet, statesman, scientist
“The Poet’s Year,” A Criticism of the Poems of J. H. Voss (1804) [tr. Austin]
(Source)
Literature is strewn with the wreckage of men who have minded beyond reason the opinions of others.
Virginia Woolf (1882-1941) English modernist writer [b. Adeline Virginia Stephen]
A Room of One’s Own, ch. 3 (1929)
Be without fear. This is impossible, but let the small fears drive your rewriting and set aside the large ones until they behave — then use them, maybe even write them. Too much fear and all you’ll get is silence.
Alison Louise "A. L." Kennedy (b. 1965) Scottish writer and comedian
In “Ten Rules for Writing Fiction,” The Guardian (20 Feb 2010)
(Source)
Those authors into whose hands nature has placed a magic wand, with which they no sooner touch us than we forget the unhappiness in life, than the darkness leaves our soul, and we are reconciled to existence, should be placed among the benefactors of the human race.
Denis Diderot (1713-1784) French editor, philosopher
(Attributed)
Attributed in Maturin M. Ballou, Treasury of Thought (1884 ed.).
Write. No amount of self-inflicted misery, altered states, black pullovers or being publicly obnoxious will ever add up to your being a writer. Writers write. On you go.
Alison Louise "A. L." Kennedy (b. 1965) Scottish writer and comedian
In “Ten Rules for Writing Fiction,” The Guardian (20 Feb 2010)
(Source)
We should have a glorious conflagration if all who cannot put fire into their works would only consent to put their works into the fire.
Charles Caleb "C. C." Colton (1780-1832) English cleric, writer, aphorist
Lacon: Or, Many Things in Few Words, Vol. 1, Preface (1820)
(Source)
Trust your reader. Not everything needs to be explained. If you really know something, and breathe life into it, they’ll know it too.
Esther Freud (b. 1963) British novelist, actress
In “Ten Rules for Writing Fiction,” The Guardian (20 Feb 2010)
(Source)
