For most of my writing life, I've refused to allow myself to believe that writing was a significant form of action. I always felt very uneasy about the fact that all I did was write in a situation as desperate as apartheid South Africa. Whether I was correct or not is a different issue.
A novelist has two lives-- a reading and writing life, and a lived life. he or she cannot be understood at all apart from this.
Writing is the great invention of the world.
Literature is the ditch I'm going to die in. It's still the thing I care most about.
The writing life is a secret life, wither we admit it or not.
But in the meantime I became accustomed to the writing life and it would be hard to change now - partly because of the salary cut if I went to my other love, teaching; and partly because I still have stories to tell, even though it isn't all that fun doing the work anymore.
All through my writing life I've had this impulse to write autobiographical works.
Lehman uses many conveyances—including the prose poem, the sestina, and curt rhymes—to travel across the writing life of a poet whose instinctive romanticism is always bracing and tough-minded, brimming with a rare generosity.
Many aspects of the writing life have changed since I published my first book, in the 1960s. It is more corporate, more driven by profits and marketing, and generally less congenial - but my day is the same: get out of bed, procrastinate, sit down at my desk, try to write something.
But the writing life, it turned out, was difficult. It wasn't like you could sit down and flip a switch and crank on the ventilation system. Sometimes it didn't work, and sometimes you couldn't even find the switch.
When I started writing after my career as an actor, I knew that that other life in the film industry would be pulled into my writing life and that people would see me not as an author but as an actor starting to write.
The report of my illness grew out of his (James Clemens) illness. The report of my death was an exaggeration.
Use original detail in your writing. Life is so rich, if you can write down the real details of the way things were and are, you hardly need anything else.
Every author, however modest, keeps a most outrageous vanity chained like a madman in the padded cell of his breast.
Life is too precious to be spent in this weaving and unweaving of false impressions, and it is better to live quietly under some degree of misrepresentation than to attempt to remove it by the uncertain process of letter-writing.
A key to a long, productive writing life is finding ways to support that life, emotionally and existentially.
The writing life is essentially one of solitary confinement - if you can't deal with this, you needn't apply.
Galway Kinnell came out with that wonderful big, breathy, hollow voice of his and read, for the first time in public, "The Bear." That poem impressed me so much that I memorized it. I used it for years when I taught in prisons. It's a powerful extended metaphor for what the writing life is really all about. It's a uniquely powerful poem about self-transformation, and that's what we're asking, really, beyond even our objection to the war. We're asking people to look at themselves and think about what might be possible with a little self-transformation.
Never believe that the fiction writing life makes sense.... It's insanity by definition.
One of the accidental joys of my writing life has been that I've had some lovely, surprisingly good fortune with readers, and I've brought readers to my dad's work. I can't tell you the joy that gives me. Because my father's work was masterful.
History has to live with what was here, clutching and close to fumbling all we had - it is so dull and gruesome how we die, unlike writing, life never finishes.
I've been gratified to see over the twenty or so years of my writing life the West become less of a colony of the East; maybe new technologies and too much travel undermine the idea of provinciality.
For better or worse, most of my writing life has been about people that work behind the scenes. I'm interested in finding extraordinary moments in otherwise normal people.
There is nothing harder to estimate than a writer's time, nothing harder to keep track of. There are moments—moments of sustained creation—when his time is fairly valuable; and there are hours and hours when a writer's time isn't worth the paper he is not writing anything on.
The next thing most like living one's life over again seems to be a recollection of that life, and to make that recollection as durable as possible by putting it down in writing.
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