George Saunders Quotes About Writing
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And I have finally realized that, you know, it's not a given that my lifespan will accommodate my writing aspirations. It could be that it would take me 12 more books at six years each to get it - which means I would have to live to be 126. Which I fully intend to do, of course.
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When I'm not writing, I tend to get depressed and a little bit surly. And then when I'm writing, suddenly I feel enlivened. Now the only thing as I'm getting older that I notice is that it's a pattern.
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As a young kid I assumed that everybody was sort of on the same wavelength as I was and then I found out in a lot of small ways that that wasn't the case. It's sort of a mixed blessing. My mind is like a puppy. It goes all over. I guess writing fiction was a way of harnessing that. I could hook a puppy up to a treadmill and get something out of it.
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People who've written about Abraham Lincoln's writing emphasize how logical he was. His writing was a syllogistic tool. He would say, if A, then B, and he would reason through it. His late writing especially is so tight and so beautifully reasoned.
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I'm always aware of writing around things I can't do, and I've come to think that that's actually what 'style' is - an avoidance of your deficiencies.
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If I'm writing a story and you're reading it, or vice versa, you took time out of your day to pick up my book. I think the one thing that will kill that relationship is if you feel me condescending to you in the process. And how does that happen? Well, it happens when I know more than you do, and when I know that I know more than you do, and I'm holding it back from you. So that I can then manipulate you at the end. You know, you think about like in a dating situation how terrible that would be, it's the same thing with a book.
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I've had that situation where I start writing somebody really miserable, and in order to make the story come alive, I have to give them a vote of confidence, make him vulnerable or wounded. But in real life, you often meet people who, in that particular moment, actually shouldn't get a vote of confidence.
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I wasted a lot of years working on my writing and very grandly saying, 'And now... My Novel!,' which would soon be reduced to a short story, then to a paragraph.
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A work of art is something produced by a person, but is not that person — it is of her, but is not her. It’s a reach, really — the artist is trying to inhabit, temporarily, a more compact, distilled, efficient, wittier, more true-seeing, precise version of herself — one that she can’t replicate in so-called ‘real’ life, no matter how hard she tries. That’s why she writes: to try and briefly be more than she truly is.
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Honestly, the choice is: I can be a cheerful person, more awake to correction, more of a force for good ... when I'm writing. Or I can be the opposite of all those things, when I'm not writing.
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I love story-writing because I can (more or less, on occasion) actually DO it. That's really the truth. I like the idea that a story is sort of a site for making cool language effects - a site for celebrating language, and, therefore, the world. And the brevity is part of the challenge. I like stories because I get them - I know how to make beauty, or something like beauty, in that mode.
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I think that feels like it to me. I mean whenever you talk about writing I think you have to remember that it all has a big question mark over it - every word has a big question mark over it.
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If you understand writing as primarily engaging an imaginary reader, well, you've kind of been doing that your whole life. You walk into a room and you're engaging with imaginary strangers because you don't actually know who they are. For me, it was really empowering to say: this is a branch of entertainment and communication and engagement, as opposed to jumping over some perceived literary high bar. That was the buzzkill.
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I've been reading about and writing about the Civil War period and it is so striking that slavery was never made right - [Abraham] Lincoln was killed, Reconstruction came along, and all of that inequity was frozen in place and carried forward rather smugly. So I think the burden is now upon us white people, to say that this systemic inequality offends us.
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A writer writes what interests him and what he can manage, and what he can make live, as Flannery O'Connor said. So my reaction to someone saying "You must!" or "You should!" or even "Hey, why don't you?" is basically to sort of shrug and politely walk off and do whatever I want to do. It's nobody else's business, really, and even if I happened to agree with one of those "musts" or "shoulds" what would I do about it, if my heart wasn't in it?
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My general approach to writing fiction is that you try to have as few conceptual notions as possible and you just respond to the energy that the story is making rather than having a big over plan. I think if you have a big over plan, the danger is that you might just take your plan and then you bore everybody. I always joke that it's like going on a date with index cards. You know, at 7:30 p.m. I should ask about her mother. You keep all the control to yourself but you are kind of insulting to the other person.
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I think it's basically the same game, although with a public figure like [Donald] Trump I think you are bound to consider the public persona rather than the private one. At least that was the case with that piece of writing.
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All along, my mantra was: Don't write unless it contributes to the emotion, and do anything you do in service of the emotion only.
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I knew if I evoked that stuff too easily or gratuitously, as a way of assuaging my fears of not being edgy or whatever, the writing would fall apart. This book [Lincoln in the Bardo] was going to have to have some earnestness in it.
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As far as which writers embody this form of gentle power - Tobias Wolff, for sure. His persona and his writing both share an easy, capacious confidence that says he has faith in his readers.
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I don't really do much social media. I just don't like it that much. I've trained myself to write very slowly for a lot of money so it really galls me to write quickly for free.
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I used to joke about this but I've recently realized that I really believe it: I spent many years training myself to write very slowly for pretty good money. So the idea of writing really quickly for free offends me.
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The chances of a person breaking through their own habits and sloth and limited mind to actually write something that gets out there and matters to people are slim.
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The best thing that ever happened to me is that nothing happened in writing. I ended up working for engineering companies, and that's where I found my material, in the everyday struggle between capitalism and grace. Being broke and tired, you don't come home your best self.
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I don't know how you feel, but I feel like writing, clarity of thought, and truth have been validated because we see what happens when we get lax in those areas. I'm excited by the idea that writers like us can actually reach out and try to understand and prod and agitate the people who are in support of Trump because we have the tools to do it. We're language people and we're idea people.
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Writing and reading and speaking with specificity and skill has never seen more important to me than it does at this moment. It's what's between us and chaos.
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The only thing I might have noticed [and this is pretty anecdotal] is that there is some tendency to need to be taught that 'writing is rewriting' - maybe more of a sense than was pervasive 10 years ago that the first or second pass of a story is sufficient. That is an idea that is easily dislodged, but I suspect it might have something to do with the turnaround time re: blogging and so on - this sense that there is some essential truth about a first draft that one runs the risk of "ruining" by coming back to it.
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There are things that are shadow sides of the creative energy that are negative and all that kind of stuff. The only thing that I say to myself is, in the spirit of that quote from the Gnostic Gospels: Writing is a way to let all that stuff out into the sun.
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When you write an essay, of course you're going to get pushback, but you're going to be allowed to make your case at leisure. You're going to be allowed to take into account possible objections and to fully humanize your reader. That feels to me like a much more sane thing to do.
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Writing a story I am just trying to find some little interesting thing to start out with: something small, even trivial. Preferably something that doesn't have a lot of thematic or political baggage - a little crumb that is interesting.
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