A Quote by Darin Strauss

Constant rejection. No security. Career paths being dictated by freelance reviewers. And of course, the terror of the writing desk, of the blank page. Why is it so hard for our non-writer friends to understand this - that it's a job?
I’d recommend learning to accept rejection. Become friends with rejection. Be nice to rejection, because it’s a huge part of being a writer, no matter where you are in your career.
As a writer, if you have something on a page, you can start moving it around and get something you like. But if you have a blank page, it's just gonna be a blank page.
Being a writer is a very peculiar sort of a job: it's always you versus a blank sheet of paper (or a blank screen) and quite often the blank piece of paper wins.
Every page was once a blank page, just as every word that appears on it now was not always there, but instead reflects the final result of countless large and small deliberations. All the elements of good writing depend on the writer's skill in choosing one word instead of another. And what grabs and keeps our interest has everything to do with those choices.
Having the great opportunity on a daily basis to sit in front of a blank page is terrifying, and at the same time really exciting. I can't actually get better at my job, because every time you finish something you start with a blank page, with nothing.
It's important in show business to have friends who understand the cut and thrust of everyday working life and the constant rejection.
Sometimes it can be really exciting, but I avoid the blank page now. What I do is hand write everything. When you're hand writing, there's never a blank page, really. There's so much you can do with that.
But the writer who endures and keeps working will finally know that writing the book was something hard and glorious, for at the desk a writer must try to be free of prejudice, meanness of spirit, pettiness, and hatred; strive to be a better human being than the writer normally is, and to do this through concentration on a single word, and then another, and another. This is splendid work, as worthy and demanding as any, and the will and resilience to do it are good for the writer's soul.
It's a neat experience to go from the blank page to an actor elevating it to the audience understanding it - the full life of that is why I became a writer.
After college, I was burdened with student loans to repay, no financial cushion, so I wasn't in a position to bet everything on a creative-writing career - neither the writing-workshop academia life nor the freelance-writer version, trying to scrape by on short stories and house-painting gigs.
The writing process is the time where nothing's been set in stone. It's a blank slate, or a blank page.
Yes, the fear of its blankness. At the same time, I kind of loved it. Mallarmé was trying to make the page a blank page. But if you're going to make the page a blank page, it's not just the absence of something, it has to become something else. It has to be material, it has to be this thing. I wanted to turn a page into a thing.
Choosing my career was always based on job satisfaction rather than financial security. I wanted to get a job in science; I enjoyed being a surgeon and I now enjoy being an academic and having a media career.
I don't believe in writer's block. Most of writer's block is having too much time on your hands. My mantra is that you can always edit a bad page; you can't edit a blank page.
I don't even subscribe to writer's block being a truthful thing. I've had writer's laziness quite often. But I think it's all about sitting down and facing down the blank page and doing it, and I've always been ok at that.
I don't understand why one should be one thing or the other. Writing, to me, is writing is writing. It should be a flexible tool. Whatever skills I have, have to work for me; I won't be dictated by them.
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