Substitute “damn” every time you’re inclined to write “very”; your editor will delete it and the writing will be just as it should be.
Mark Twain (1835-1910) American writer [pseud. of Samuel Clemens]
(Attributed)
Quotations about:
writing
Note not all quotations have been tagged, so Search may find additional quotes on this topic.
No sinner is ever saved after the first twenty minutes of a sermon.
Mark Twain (1835-1910) American writer [pseud. of Samuel Clemens]
Hannibal Courier-Post (6 Mar 1835)
I think the most important thing I learned from Stephen King I learned as a teenager, reading King’s book of essays on horror and on writing, Danse Macabre. In there he points out that if you just write a page a day, just 300 words, at the end of a year you’d have a novel. It was immensely reassuring — suddenly something huge and impossible became strangely easy. As an adult, it’s how I’ve written books I haven’t had the time to write, like my children’s novel Coraline.
Neil Gaiman (b. 1960) British author, screenwriter, fabulist
Blog entry (2012-04-28), “Popular Writers: A Stephen King Interview”
(Source)
Contributor's note to an interview with Stephen King, "The King and I," Sunday Times Magazine (2012-04-08).
A work is perfectly finished only when nothing can be added to it and nothing taken away.
Joseph Joubert (1754-1824) French moralist, philosopher, essayist, poet
Pensées, #1809 (1838) [tr. Auster (1983)]
And I wanted someone who is absolutely and utterly powerful. It’s interesting because at the time, John Byrne had just taken over Superman and had announced that he was making Superman less powerful because he had become too powerful and you couldn’t write interesting stories about people that were too powerful. That started me thinking, “Well, no, actually you can, because what makes a person interesting or not interesting isn’t how powerful they are, but who they are.
Neil Gaiman (b. 1960) British author, screenwriter, fabulist
“Alan Moore got to be the Beatles. … I was Gerry and the Pacemakers,” Interview, Los Angeles Times (2008-12-02)
On creating Morpheus, the Sandman.
I met, not long ago, a young man who aspired to become a novelist. Knowing that I was in the profession, he asked me to tell him how he should set to work to realize his ambition. I did my best to explain. “The first thing,” I said, “is to buy quite a lot of paper, a bottle of ink, and a pen. After that you merely have to write.”
Aldous Huxley (1894-1963) English novelist, essayist and critic
“Sermons in Cats,” Music at Night and Other Essays (1931)
(Source)
The right word may be effective, but no word was ever as effective as a rightly timed pause.
Mark Twain (1835-1910) American writer [pseud. of Samuel Clemens]
Mark Twain’s Speeches, Introduction [ed W.D. Howells (1923 ed.)]
When I am dead,
I hope it may be said:
‘His sins were scarlet,
But his books were read’.Hilaire Belloc (1870-1953) Franco-British writer, historian [Joseph Hilaire Pierre René Belloc]
“On His Books” (1923)
With a view to poetry, an impossible thing that is believable is preferable to an unbelievable thing that is possible.
[πρός τε γὰρ τὴν ποίησιν αἱρετώτερον πιθανὸν ἀδύνατον ἢ ἀπίθανον καὶ δυνατόν.]
Aristotle (384-322 BC) Greek philosopher
Poetics [Περὶ ποιητικῆς, De Poetica], ch. 24 / 1461b.11 (c. 335 BC) [tr. Sachs (2006)]
(Source)
Original Greek. Alternate translations:
- "The poet should prefer probable impossibilities to improbable possibilities." [tr. Butcher (1895)]
- "A likely impossibility is always preferable to an unconvincing possibility." [tr. Bywater (1909)]
- "You should prefer a plausible impossibility to an unconvincing possibility." [tr. Margoliouth (1911)]
- "For poetic effect a convincing impossibility is preferable to that which is unconvincing though possible." [tr. Fyfe (1932)]
- "Probable impossibilities are preferable to implausible possibilities." [tr. Halliwell (1986)]
- "In relation to the needs of the composition, a believable impossibility is preferable to an unbelievable possibility." [tr. Janko (1987)]
- "With respect to the requirement of art, the probable impossible is always preferable to the improbable possible."
- "For the purposes of poetry a convincing impossibility is preferable to an unconvincing possibility."
Poetry demands a man with special gift for it, or else one with a touch of madness in him; the former can easily assume the required mood, and the latter may be actually beside himself with emotion.
[διὸ εὐφυοῦς ἡ ποιητική ἐστιν ἢ μανικοῦ: τούτων γὰρ οἱ μὲν εὔπλαστοι οἱ δὲ ἐκστατικοί εἰσιν.]
Aristotle (384-322 BC) Greek philosopher
Poetics [Περὶ ποιητικῆς, De Poetica], ch. 17 / 1455a.33 (c. 335 BC) [tr. Bywater (1909)]
(Source)
Original Greek. Fyfe (below) notes μανικός to mean "genius to madness near allied," and adds "Plato held that the only excuse for a poet was that he couldn't help it." A possible source of Seneca's "touch of madness" attribution to Aristotle. Alternate translations:
Poetry implies either a happy gift of nature or a strain of madness. In the one case a man can take the mould of any character; in the other, he is lifted out of his proper self.
[tr. Butcher (1895)]
Poetry is the work for the finely constituted or the hysterical; for the hysterical are impressionable, whereas the finely constituted are liable to outbursts.
[tr. Margoliouth (1911); whiles this seems backward, Margoliouth further explains in his footnote.]
Poetry needs either a sympathetic nature or a madman, the former being impressionable and the latter inspired.
[tr. Fyfe (1932)]
Hence the poetic art belongs either to a naturally gifted person or an insane one, since those of the former sort are easily adaptable and the latter are out of their senses.
[tr. Sachs (2006)]
In order to write tragic poetry, you must be either a genius who can adapt himself to anything, or a madman who lets himself get carried away.
[tr. Kenny (2013)]
I think it behooves us to treat our characters’ beliefs with some measure of respect, whatever he believes in. I mean I’m an atheist myself, but I don’t have to believe in Minbari to write about Minbari. I think if that person is a religious character, then you have to treat them with integrity and deal with them properly.
J. Michael (Joe) Straczynski (b. 1954) American screenwriter, producer, author [a/k/a "JMS"]
Panel Discussion, MIT, Cambridge, Massachusetts (4 May 1998)
(Source)
The more important the emotion is, the fewer words required to express it:
Will you go out with me?
I think I like you.
I care for you.
I love you.
Marry me.
Goodbye.J. Michael (Joe) Straczynski (b. 1954) American screenwriter, producer, author [a/k/a "JMS"]
rec.arts.sf.tv.babylon5.moderated, “A Quote by JMS” (31 Jan 2008)
(Source)
Straczynski is quoting something he'd previously written on the death of Andreas Katsulas (Feb 2006). A variant of the quote can be found as a sig line at least as far back as Sep 2007:
I had this theory that the more important and intimate the emotion, the fewer words are required to express it.
First it's in dating: "Will you go out with me?" Six words.
"Honey, I care for you." Five words.
"You matter to me." Four words.
"I love you." Three words.
"Marry me." Two words.
But what's left? What's the one most important and intimate word you can ever say to somebody?
It's "goodbye."
As an atheist, I believe that all life is unspeakably precious, because it’s only here for a brief moment, a flare against the dark, and then it’s gone forever. No afterlives, no second chances, no backsies. So there can be nothing crueler than the abuse, destruction or wanton taking of a life. It is a crime no less than burning the Mona Lisa, for there is always just one of each.
So I cannot forgive. Which makes the notion of writing a character who CAN forgive momentarily attractive … because it allows me to explore in great detail something of which I am utterly incapable.
J. Michael (Joe) Straczynski (b. 1954) American screenwriter, producer, author [a/k/a "JMS"]
Usenet, rec.arts.sf.tv.babylon5, “JMS on Compuserve: Gesthemane Questions” (1995-12-04)
(Source)
It is the spirit of the age to believe that any fact, no matter how suspect, is superior to any imaginative exercise, no matter how true.
Gore Vidal (1925-2012) American novelist, dramatist, critic
“French Letters: Theories of the New Novel,” Encounter (Dec 1967)
All Bette’s stories have happy endings. That’s because she knows where to stop. She’s realized the real problem with stories — if you keep them going long enough, they always end in death.
Neil Gaiman (b. 1960) British author, screenwriter, fabulist
Sandman, Book 1. Preludes and Nocturnes, # 6 “24 Hours” (1989-06)
(Source)
The best authors are always the severest critics of their own works; they revise, correct, file, and polish them, till they think they have brought them to perfection.
Lord Chesterfield (1694-1773) English statesman, wit [Philip Dormer Stanhope]
Letter to his son, #253 (6 May 1751)
(Source)
The writer is delegated to declare and to celebrate man’s proven capacity for greatness of heart and spirit — for gallantry in defeat — for courage, compassion and love. In the endless war against weakness and despair, these are the bright rally-flags of hope and of emulation. I hold that a writer who does not passionately believe in the perfectibility of man, has no dedication nor any membership in literature.
John Steinbeck (1902-1968) American writer
Speech, Nobel Prize Banquet, Stockholm (10 Dec 1962)
(Source)
My attitude toward punctuation is that it ought to be as conventional as possible. The game of golf would lose a good deal if croquet mallets and billiard cues were allowed on the putting green. You ought to be able to show that you can do it a good deal better than anyone else with the regular tools before you have a license to bring in your own improvements.
Ernest Hemingway (1899-1961) American writer
Letter (15 May 1925)
In C. Baker (ed.), Ernest Hemingway: Selected Letters, 1917-1961 (1981).
One of the pleasant things those of us who write or paint do is to have the daily miracle. It does come.
G. B. Stern (1890-1973) British writer [Gladys Bronwyn Stern]
Paris France, Part I (1940)
A certain critic — for such men, I regret to say, do exist — made the nasty remark about my last novel that it contained ‘all the old Wodehouse characters under different names’. He has probably now been eaten by bears, like the children who made mock of the prophet Elisha: but if he still survives he will not be able to make a similar charge against Summer Lightning. With my superior intelligence, I have outgeneralled this man by putting in all the old Wodehouse characters under the same names. Pretty silly it will make him feel, I rather fancy.
P. G. Wodehouse (1881-1975) Anglo-American humorist, playwright and lyricist [Pelham Grenville Wodehouse]
Summer Lightning, Preface (1929)
What I like in a good author isn’t what he says, but what he whispers.
Logan Pearsall Smith (1865-1946) American-English essayist, editor, anthologist
Afterthoughts, “Arts and Letters” (1931)
Preaching has become a bye-word for long and dull conversation of any kind; and whoever wishes to imply, in any piece of writing, the absence of everything agreeable and inviting, calls it a sermon.
Sydney Smith (1771-1845) English clergyman, essayist, wit
Memoir of the Reverend Sydney Smith, by His Daughter, Lady Holland, Vol. 1, ch. 3 (1855)
(Source)
In composing, as a general rule, run your pen through every other word you have written; you have no idea what vigor it will give your style.
Sydney Smith (1771-1845) English clergyman, essayist, wit
Memoir of the Reverend Sydney Smith, by His Daughter, Lady Holland, Vol. 1, ch. 11 (1855)
(Source)
But every writer, especially every novelist, has a “message”, whether he admits it or not, and the minutest details of his work are influenced by it. All art is propaganda. Neither Dickens himself nor the majority of Victorian novelists would have thought of denying this. On the other hand, not all propaganda is art.
When a man is in doubt about this or that in his writing, it will often guide him if he asks himself how it will tell a hundred years hence.
Samuel Butler (1835-1902) English novelist, satirist, scholar
The Note-Books of Samuel Butler, “Writing for a Hundred Years Hence” (1912)
Full text.
No tears in the writer, no tears in the reader. No surprise for the writer, no surprise for the reader.
Robert Frost (1874-1963) American poet
“The Figure a Poem Makes,” Collected Poems, Preface, “The Figure a Poem Makes” (1939)
(Source)
Every writer is a frustrated actor who recites his lines in the hidden auditorium of his skull.
Rod Serling (1924-1975) American screenwriter, playwright, television producer, narrator
Vogue (1 Apr 1957)
Undoubtedly the stories about them [hard-boiled detectives] had a fantastic element. Such things happened, but not so rapidly, nor to so close-knit a group of people, nor within so narrow a frame of logic. This was inevitable because the demand was for constant action; if you stopped to think you were lost. When in doubt, have a man come through a door with a gun in his hand.
Sure it’s simple, writing for kids. Just as simple as bringing them up. All you do is take all the sex out, and use little short words, and little dumb ideas, and don’t be too scary and be sure there’s a happy ending. Right? Nothing to it. Write down. Right on. If you do all that you might even write Jonathan Livingstone Seagull and make twenty million dollars and have every adult in America reading your book.
But you won’t have every kid in America reading your book. They will look at it, with their clear, cold, beady little eyes, and they will put it down, and they will go away. Kids will devour vast amounts of garbage (and it is good for them) but they are not like adults; they have not yet learned to eat plastic.
Ursula K. Le Guin (1929-2018) American writer
“Dreams Must Explain Themselves” (1973)
if you are writing without zest, without gusto, without love, without fun, you are only half a writer. It means you are so busy keeping one eye on the commercial market, or one ear peeled for the avant-garde coterie, that you are not being yourself. You don’t even know yourself. For the first thing a writer should be is — excited. He should be a thing of fevers and enthusiasms. Without such vigor, he might as well be out picking peaches or digging ditches; God knows it’d be better for his health.
Ray Bradbury (1920-2012) American writer, futurist, fabulist
“The Joy of Writing,” Zen & the Art of Writing and The Joy of Writing, Capra Chapbook No. 13 (1973)
(Source)
Reprinted in Bradbury, Zen in the Art of Writing (1990).
Words, like glass, obscure when they do not aid vision.
[Les mots, comme les verres, obscurcissent tout ce qu’ils n’aident pas à mieux voir.]
Joseph Joubert (1754-1824) French moralist, philosopher, essayist, poet
Pensées [Thoughts], ch. 22 “Du Style [On Style],” ¶ 25 (1850 ed.) [tr. Lyttelton (1899), ch. 21, ¶ 15]
(Source)
(Source (French)). Alternate translations:
Words, like glass, darken whatever they do not help us to see.
[tr. Attwell (1896), ¶ 304]
Words, like eyeglasses, obscure everything they do not make clear.
[Source]
Beneath the rule of men entirely great
The pen is mightier than the sword. Behold
The arch-enchanter’s wand! — itself a nothing! —
But taking sorcery from the master-hand
To paralyze the Caesars — and to strike
The loud earth breathless! — Take away the sword —
States can be saved without it!Edward George Bulwer-Lytton (1803-1873) English novelist and politician
Richelieu, Act 2, sc. 2 [Richelieu] (1839)
(Source)
See Shakespeare.
I’d like to have money. And I’d like to be a good writer. These two can come together, and I hope they will, but if that’s too adorable, I’d rather have the money.
ROSENCRANTZ: Many wearing rapiers are afraid of goosequills.
William Shakespeare (1564-1616) English dramatist and poet
Hamlet, Act 2, sc. 2, l. 366ff (2.2.366) (c. 1600)
(Source)
There are also conflicts about important things or ideas. In such cases I am more impressed by the extreme importance of being on the right side, than I am disturbed by the revelation of the jungle of confused motives, private purposes, and individual actions (noble or base) in which the right and the wrong in actual human conflicts are commonly involved.
J.R.R. Tolkien (1892-1973) English writer, fabulist, philologist, academic [John Ronald Reuel Tolkien]
Notes on W. H. Auden’s review of Return of the King (1956)
(Source)
Auden's review: "At the End of the Quest, Victory," New York Times Book Review (1956-01-22).
Tolkien never sent or shared these notes. Reprinted in Humphrey Carpenter, ed., The Letters of J.R.R. Tolkien, #183 (1981).
Reading maketh a full man; conference a ready man; and writing an exact man.
Francis Bacon (1561-1626) English philosopher, scientist, author, statesman
“Of Studies,” Essays, No. 50 (1625)
(Source)
An historian is an unsuccessful novelist.
H. L. Mencken (1880-1956) American writer and journalist [Henry Lewis Mencken]
A Little Book in C Major, ch. 7, § 21 (1916)
(Source)
Variants:
HISTORIAN. An unsuccessful novelist.
[A Book of Burlesques, "The Jazz Webster" (1924)]
Historian - An unsuccessful novelist.
[Chrestomathy, ch. 30 "Sententiae" (1949)]
A painting is never finished — it simply stops in interesting places.
(Other Authors and Sources)
Paul Gardner
Life is like music, it must be composed by ear, feeling and instinct, not by rule. Nevertheless one had better know the rules, for they sometimes guide in doubtful cases, though not often.
Samuel Butler (1835-1902) English novelist, satirist, scholar
The Note-Books of Samuel Butler, ch. 1, “Life” (1912)
(Source)
HOBBES: Have you an idea for your story yet?
CALVIN: No, I’m waiting for inspiration. You can’t just turn on creativity like a faucet. You have to be in the right mood.
HOBBES: What mood is that?
CALVIN: Last-minute panic.
