A Quote by Amy Tan

In [writing] fiction, every sentence is its own reward. — © Amy Tan
In [writing] fiction, every sentence is its own reward.
Writing is linear and sequential; Sentence B must follow Sentence A, and Sentence C must follow Sentence B, and eventually you get to Sentence Z. The hard part of writing isn't the writing; it's the thinking. You can solve most of your writing problems if you stop after every sentence and ask: What does the reader need to know next?
I don't know what that line is between fiction and non-fiction that other people have in their minds, but to me, when I'm writing, it's just like whatever the next sentence should be is the next sentence. It's not this artificial division.
People who write for reward by way of recognition or monetary gain don't know what they're doing. They're in the category of those who write; they are not writers. Writing is simply something you must do. It's rather like virtue in that it is its own reward. Writing is selfish and contradictory in its terms. First of all, you're writing for an audience of one, you must please the one person you're writing for. Yourself.
Writing fiction is a resolutely solitary pastime, and I love being with people, so the public side of being an author is, to me, the reward for all the private time invested. And I love teaching to a fault; I have a hard time not giving away a lot of my own writing energy to my students.
I always tell my writing students that every good piece of writing begins with both a mystery and a love story. And that every single sentence must be a poem. And that economy is the key to all good writing. And that every character has to have a secret.
The secret of good writing is to strip every sentence to its cleanest components. Every word that serves no function, every long word that could be a short word, every adverb that carries the same meaning that’s already in the verb, every passive construction that leaves the reader unsure of who is doing what—these are the thousand and one adulterants that weaken the strength of a sentence. And they usually occur in proportion to the education and rank.
A novel, basically, is writing one sentence — then, without violating the scope of the first one, writing the next sentence.
Some say writing is its own reward. I write for money, but writing for money is not so bad, especially when that writing brings you joy.
Work and thou canst escape the reward; whether the work be fine or course, planting corn or writing epics, so only it be honest work, done to thine own approbation, it shall earn a reward to the senses as well as to the thought.
Writing is its own reward.
If I had simply wanted to trade on an insult to Islam, I could have done it in a sentence rather than writing a 250,000-word novel, a work of fiction.
I spent my entire youth writing slowly with revisions and endless rehashing speculation and deleting and got so I was writing one sentence a day and the sentence had no FEELING. Goddamn it, FEELING is what I like in art, not CRAFTINESS and the hiding of feelings.
It's my experience that people don't think of fiction writing as being as intellectually serious as other kinds of writing in academia and so without a career as a critic or essayist you can be treated as something of a spiritual medium - a fraud - for "just" writing fiction.
Writing fiction is very different to writing non-fiction. I love writing novels, but on history books, like my biographies of Stalin or Catherine the Great or Jerusalem, I spend endless hours doing vast amounts of research. But it ends up being based on the same principle as all writing about people: and that is curiosity!
Every sentence spoken by Napoleon, and every line of his writing, deserves reading, as it is the sense of France.
Good writing is the hardest form of thinking. It involves the agony of turning profoundly difficult thoughts into lucid form, then forcing them into the tight-fitting uniform of language, making them visible and clear. If the writing is good, then the result seems effortless and inevitable. But when you want to say something life-changing or ineffable in a single sentence, you face both the limitations of the sentence itself and the extent of your own talent.
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