Writing is the flip side of sex - it's good only when it's over.
When you write for a living and you can't do anything else, you know that sooner or later that the deadline is going to come screaming down on you like a goddamn banshee. There's no avoiding it...So one day you just don't appear at the El Adobe bar anymore; you shut the door, paint the windows black, rent an electric typewriter and become the monster you always were - the writer.
I have no taste for either poverty or honest labor, so writing is the only recourse left for me
I haven't found a drug yet that can get you anywhere near as high as a sitting at a desk writing, trying to imagine a story no matter how bizarre it is, [or] going out and getting into the weirdness of reality and doing a little time on the Proud Highway.
Not a wasted word. This has been a main point to my literary thinking all my life.
As things stand now, I am going to be a writer. I'm not sure that I'm going to be a good one or even a self-supporting one, but until the dark thumb of fate presses me to the dust and says 'you are nothing', I will be a writer.
Because the writer must be a participant in the scene, while he's writing it — or at least taping it, or even sketching it. Or all three. Probably the closest analogy to the ideal would be a film director/producer who writes his own scripts, does his own camera work and somehow manages to film himself in action, as the protagonist or at least a main character.
This is the way life goes in Big Sur. Waiting for the mail, watching the sea-lions in the surf or the freighters on the horizon, sitting in the tubs at Hot Springs, once in a while a bit of drink - and, most of the time, working at what ever it is that you came here to work on, whether it be painting, writing, gardening or the simple art of living your own life.
One of the few ways I can almost be certain I'll understand something is by sitting down and writing about it. Because by forcing yourself to write about it and putting it down in words, you can't avoid having your say on the subject. You might be wrong, but you have to think about it very intensely to write about it.
I have stolen more quotes and thoughts and purely elegant little starbursts of writing from the Book of Revelation than anything else in the English language - and it is not because I am a biblical scholar, or because of any religious faith, but because I love the wild power of the language and the purity of the madness that governs it and makes it music.
There is no story unless you've written it.
The most important thing a writer can have [is] the ability to live with the constant loneliness and a strong sense of revulsion for the banalities of everyday socializing.
There is probably some long-standing "rule" among writers, journalists, and other word-mongers that says: "When you start stealing from your own work you're in bad trouble." And it may be true.
I’m a word freak. I like words. I’ve always compared writing to music. That’s the way I feel about good paragraphs. When it really works, it’s like music.
Fiction is based on reality unless you're a fairytale artist.
I've always considered writing the most hateful kind of work. I suspect it's a bit like fucking - which is fun only for amateurs. Old whores don't do much giggling.
Fiction is based on reality unless you're a fairy-tale artist, you have to get your knowledge of life from somewhere. You have to know the material you're writing about before you alter it.
Most of my stuff is just a series of false leads. I'll approach a story as a subject and then make a whole bunch of different runs at the lead. They're all good writing but they don't connect. So I end up having to string leads together.
I find that by putting things in writing I can understand them and see them a little more objectively. ... For words are merely tools and if you use the right ones you can actually put even your life in order, if you don't lie to yourself and use the wrong words.
I couldn't imagine, and I don't say this with any pride, but I really couldn't imagine writing without a desperate deadline.
["Fear & Loathing in Las Vegas"] is a very hard book to translate to film because there's so much interior monologue. The what if factor. I tried to write it cinematically and let the dialogue carry it but I forgot about the interior monologue. It's kind of hard to show what's going on in the head. I think we should do it like a documentary.
Allen [ Ginsberg] was a particular friend, one of my heroes, really. I knew him almost as long as I've been writing.
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