A Quote by Jonathan Galassi

What the beautiful-writing writers are most attached to is almost always superfluous. — © Jonathan Galassi
What the beautiful-writing writers are most attached to is almost always superfluous.
I think all writers are mainly writing for themselves because I believe that most writers are writing based on a need to write. But at the same time, I feel that writers are, of course, writing for their readers, too.
I have a hard time writing. Most writers have a hard time writing. I have a harder time than most because I'm lazier than most. [...] The other problem I have is fear of writing. The act of writing puts you in confrontation with yourself, which is why I think writers assiduously avoid writing. [...] Not writing is more of a psychological problem than a writing problem. All the time I'm not writing I feel like a criminal. [...] It's horrible to feel felonious every second of the day. Especially when it goes on for years. It's much more relaxing actually to work.
Wine writers have been around for almost as long as there has been wine, but in the past, generally speaking, most wine writing was uncritical and emphasized wine as a romantic, historic beverage. Criticism and comparative tastings were eschewed for fear of offending the trade, which most writers depended upon for survival.
I am always interested in why young people become writers, and from talking with many I have concluded that most do not want to be writers working eight and ten hours a day and accomplishing little; they want to have been writers, garnering the rewards of having completed a best-seller. They aspire to the rewards of writing but not to the travail.
Born and raised in Paris, I am deeply attached to my city; we almost have half a century of love story together, where I have been truly completely faithful! The most beautiful city in the world is my city, yeepeeee!
I enjoy writing, sometimes; I think that most writers will tell you about the agony of writing more than the joy of writing, but writing is what I was meant to do.
None of us older writers had gone through such a school. We are all self-taught. And, of course, there is always, in such a school, the danger of goose-stepping, uniformed ranks. But the Serapion Brethren have already, it seems to me, outgrown this danger. Each of them has his own individuality and his own handwriting. The common thing they have derived from the studio is the art of writing with ninety-proof ink, the art of eliminating everything that is superfluous, which is, perhaps, more difficult than writing.
I feel like the writers that I'm drawn to, the writers that I really cling to, are the writers who seem to be writing out of a desperate act. It's like their writing is part of a survival kit. Those are the writers that I just absolutely cherish and carry with me everywhere I go.
There were always men looking for jobs in America. There were always all these usable bodies. And I wanted to be a writer. Almost everybody was a writer. Not everybody thought they could be a dentist or an automobile mechanic but everybody knew they could be a writer. Of those fifty guys in the room, probably fifteen of them thought they were writers. Almost everybody used words and could write them down, i.e., almost everybody could be a writer. But most men, fortunately, aren't writers, or even cab drivers, and some men - many men - unfortunately aren't anything.
Most writers battle with periods of being blocked; it's almost an occupational hazard. But in the writing of his last and greatest novel, 'A Passage to India,' E. M. Forster got stuck for nine years.
John Dos Passos, Raymond Carver, Flaubert and William Maxwell were all very influential when I first started writing. Now, the writers I'm most interested in are the writers who are most unlike me: for example, Denis Johnson.
There are so many different kinds of writing and so many ways to work that the only rule is this: do what works. Almost everything has been tried and found to succeed for somebody. The methods, even the ideas of successful writers contradict each other in a most heartening way, and the only element I find common to all successful writers is persistence-an overwhelming determination to succeed.
. . . . spending more time with my fly firmly attached to the branches of trees and almost none of it attached to the lips of a trout.
My writing model is my mother, who is a writer as well. She always valued clarity and simplicity above all else. If someone doesn't understand what you're writing, then everything else you do is superfluous. Irrelevant. If any thoughtful, curious reader finds what I do impenetrable, I've failed.
I'm very happy to hear that my work inspires writers and painters. It's the most beautiful compliment, the greatest reward. Art should always be an exchange.
My teacher Tom Spanbauer, the man who got me started writing in his workshop, used to say: 'Writers write because they weren't invited to a party.' That always struck so true, and people always nod their heads when they hear that. Especially writers.
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