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I never know what I think about something until I read what I've written on it.
Write about what really interests you, whether it is real things or imaginary things, and nothing else.
My language limitations here are real. My vocabulary is adequate for writing notes and keeping journals but absolutely useless for an active moral life. If I really knew this language, there would surely be in my head, as there is in Webster's or the Dictionary of American Slang, that unreducible verb designed to tell a person like me what to do next.
As a writing man, or secretary, I have always felt charged with the safekeeping of all unexpected items of worldly and unworldly enchantment, as though I might be held personally responsible if even a small one were to be lost.
Writing about the unholy is one way of writing about what is sacred.
I had learned a little about writing from Soldier's Pay - how to approach language, words: not with seriousness so much as an essayist does, but with a kind of alert respect, as you approach dynamite; even with joy, as you approach women: perhaps with the same secretly unscrupulous intentions.
Lock up your libraries if you like; but there is no gate, no lock, no bolt that you can set upon the freedom of my mind.
I turn sentences around. That's my life. I write a sentence and then I turn it around. Then I look at it and turn it around again.
All you have to do is write one true sentence. Write the truest sentence that you know.
I'm a little pencil in the hand of a writing God, who is sending a love letter to the world.
What is important is the story. Because when we are all dust and teeth and kicked-up bits of skin - when we're dancing with our own skeletons - our words might be all that's left of us.
Great books write themselves, only bad books have to be written.
When I face the desolate impossibility of writing five hundred pages, a sick sense of failure falls on me, and I know I can never do it. Then gradually, I write one page and then another. One day's work is all I can permit myself to contemplate.
Writing is a job, a talent, but it's also the place to go in your head. It is the imaginary friend you drink your tea with in the afternoon.
I want to write because I have the urge to excel in one medium of translation and expression of life. I can't be satisfied with the colossal job of merely living. Oh, no, I must order life in sonnets and sestinas and provide a verbal reflector for my 60-watt lighted head.
I have people in my life, of course. Some write; some don't. Some read; some don't. Some stare vacantly into space when I talk the geeky talk and walk the geeky walk, but they make killer chocolate chip pancakes and so all is forgiven.
That's why I write, because life never works except in retrospect. You can't control life, at least you can control your version.
I have said before, and I shall say again, that I write this book for love of your love.
All that we are is the result of what we have thought. The mind is everything. What we think, we become.
I don't want to analyze myself or anything, but I think, in fact I know this to be true, that I enter the world through what I write. I grew up believing, and continue to believe, that I am a screw-up, that growing up with my family and friends, I had nothing to offer in any conversation. But when I started writing, suddenly there was something that I brought to the party that was at a high-enough level.
Life, with its rules, its obligations, and its freedoms, is like a sonnet: You're given the form, but you have to write the sonnet yourself. - Mrs. Whatsit
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