Associate with the noblest people you can find; read the best books; live with the mighty; but learn to be happy alone.
Saul BellowRead
The main reason for rewriting is not to achieve a smooth surface, but to discover the inner truth of your characters.
Interpretation
Rewriting helps uncover deeper insights about characters rather than just improving the text's flow.
Saul Bellow emphasizes that the process of rewriting is crucial for authors to delve deeper into the essence of their characters. Instead of simply refining language and style for aesthetics, the real value lies in gaining a better understanding of who the characters are, which can lead to more authentic and profound storytelling.
In practice
This quote could be used in a writing workshop to encourage participants to explore their characters more deeply.
Associate with the noblest people you can find; read the best books; live with the mighty; but learn to be happy alone.
When we ask for advice, we are usually looking for an accomplice.
In here, the human bosom -- mine, yours, everybody's -- there isn't just one soul. There's a lot of souls. But there are two main ones, the real soul and a pretender soul. Now! Every man realizes that he has to love something or somebody. He feels that he must go outward. 'If thou canst not love, what art thou?' Are you with me?
I've discovered that rejections are not altogether a bad thing. They teach a writer to rely on his own judgment and to say in his heart of hearts, 'To hell with you.'
I see that I've become a really bad correspondent. It's not that I don't think of you. You come into my thoughts often. But when you do it appears to me that I owe you a particularly grand letter. And so you end in the "warehouse of good intentions": "Can't do it now." "Then put it on hold." This is one's strategy for coping with old age, and with death--because one can't die with so many obligations in storage. Our clever species, so fertile and resourceful in denying its weaknesses.
A great deal of intelligence can be invested in ignorance when the need for illusion is deep.
You don't write a song to sit there on a page. You write it to sing it.
When I'm writing a woman character, I don't think, 'What would a woman do?' I just think, 'What would this character do in this situation?'
There are moments when the body is as numinous as words, days that are the good flesh continuing. Such tenderness, those afternoons and evenings, saying blackberry, blackberry, blackberry.
The reality of the final moment, just before shooting [the scene], is so powerful that all previous analysis must yield before the impressions you receive under these circumstances, and unless you use this feedback to your positive advantage, unless you adjust to it, adapt to it and accept the sometimes terrifying weaknesses it can expose, you can never realize the most out of your film.
To allow only the kind of art that the average man understands is the worst small-mindedness and the murder of mind and spirit. It is my conviction that the intellect can be certain that in doing what most disconcerts the crowd, in pursuing the most daring, unconventional advances and explorations, it will in some highly indirect fashion serve man - and in the long run, all men.
I don't know any writer for whom it comes easily. Maybe John Updike - a story would just seem to come to him whole, you know, out of a personal experience. But the rest of us, I think, are not so lucky, and I had to work hard, yeah.
Subscribe for the occasional hand-picked quote. No noise.