Humor is what happens when we're told the truth quicker and more directly than we're used to.
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.
Intelligent, heartfelt stories that tell a whole new set of truths about growing up American. Julie Orringer writes with virtuosity and depth about the fears, cruelties, and humiliations of childhood, but then does that rarest, and more difficult, thing: writes equally beautifully about the moments of victory and transcendence.
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.
Early on, a story's meaning and rationale seem pretty obvious, but then, as I write it, I realize that I know the meaning/rationale too well, which means that the reader will also know it - and so things have to be ramped up.
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.
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.
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.
I would say one thing writing this book [Lincoln in the Bardo] did for me was underscore the fact that this issue [all men are created equal] has never been properly addressed and it hasn't gone away.
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.
The greatest thing about writing a book is that at first it's all inchoate, but the more you work on it, the more the book teaches you its internal rules.
I always describe writing a story as throwing bowling pins in the air and then catching them.
You don't want to spend your life writing about stuff that doesn't matter. You want to try to pull out of the temporal mediocre and write in a way that is meaningful to everybody. This goes back to this idea of being intimate with your reader. Since we're all down here and we're all dying and aspiring and loving and feeling inadequate, all these things that we all are doing all the time, what a relief it is, when somebody looks at you and says, "Yeah, me too."
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.
That's what a story must feel like to me. It's not, "I want to write about a gravedigger." But you're walking along and - boop! shovel. "Ok, what does one do with a shovel? Digs a hole. Why? I don't know yet. Dig the hole! Oh, look a body."
With non-fiction writing I feel like I'm confined and driven by what actually happened. That makes the "plot". So it's a process of getting all of my notes typed up, then scanning through the notes, trying to extract or find certain vignettes that seem like they might write well - that might have a potential for good energy, shape, etc. And then at some point I start stringing these together, keeping an eye on the word count.
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.
While writing this book [Lincoln in the Bardo], [idea of inclusion] occurred to me, you either believe in the Constitution or you don't. If you do, it's intense in what it wants of us.
Even if something within me is ugly, writing is a pretty good place to play with that thing and to begin to really see it.
When you're embarking on a piece of writing, the anxiety is just too much, especially when you're young and you're trying to figure out if this is your thing or not. You feel like, "if I don't write a good story, I gotta get going to law school!"
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.
You didn't plan to write a story; it just happened. Well, it could be argued that the next thing you should do is find a hole to dig. Right? So you start digging a hole and then somebody brings a body along and puts it in. That's what a story must feel like to me. It's not that you say, "I want to write a story about a gravedigger." But you're walking along and "I don't know what I'm doing here in this story,' and - boop! a shovel. "Oh, interesting. Ok, what does one do with a shovel? Digs a hole. Why? I don't know yet. Dig the hole! Oh, look a body."
When I write I know that I'm going to have to produce 40 percent more than I need.
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.
My idea about collections is that you write as hard as you can for some period and what you're really doing during that time is hyper-focusing on the individual pieces - trying to make each one sit up and really do some surprising work.
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