A Quote by Joyce Carol Oates

Any writer who has difficulty in writing is probably not onto his true subject, but wasting time with false, petty goals; as soon as you connect with your true subject you will write.
Confronted with the loving-sharing Consensus of subject-SUBJECT relationships all Authoritarianism must vanish. The Fairy Family Circle, co-joined in the shared vision of non-possessive love - which is the granting to any other and all others that total space wherein each may grow and soar to his own freely-selected, full potential - reaching out to one another subject-to-SUBJECT, becomes for the first time in history the true working model of a Sharing Consensus!
That is as true for fiction or non-fiction. The writer has to really know their subject. It is really important to remember that the readers are a lot smarter than the writer. Also, good writing has to do with rewriting. You will never get it right the first time. So you rewrite and rewrite again until you get it right. Until you, and the reader, will be able to visualize what you're writing about.
The nightmare of censorship has always cast a shadow over my thoughts. Both under the previous state and under the Islamic state, I have said again and again that, when there is an apparatus for censorship that filters all writing, an apparatus comes into being in every writer's mind that says: "Don't write this, they won't allow it to be published." But the true writer must ignore these murmurings. The true writer must write. In the end, it will be published one day, on the condition that the writer writes the truth and does not dissemble.
He who thinks he can have flesh and bones without being subject to any external influence, or any accidents of matter, unconsciously wishes to reconcile two opposites, viz., to be at the same time subject and not subject to change. If man were never subject to change there could be no generation; there would be one single being, but no individuals forming a species.
I want my paintings to give the viewer a true sense of reality - that includes but is not limited to depth, scale and a tactile surface as well as the real sense of what the subject looks like and is feeling at the time that I painted them. There should be a discourse between the viewer and the subject, to feel as though they are in a way connected. My goal is not to set a narrative but rather to have the viewer bring their own experiences to the painting and the subject as they would if they had seen the subject on the street in real life.
In a certain sense a writer is 'selected' by his subject - his subject being the consciousness of his own era.
Good work is no done by "humble" men. It is one of the first duties of a professor, for example, in any subject, to exaggerate a little both the importance of his subject and his own importance in it. A man who is always asking "Is what I do worth while?" and "Am I the right person to do it?" will always be ineffective himself and a discouragement to others. He must shut his eyes a little and think a little more of his subject and himself than they deserve. This is not too difficult: it is harder not to make his subject and himself ridiculous by shutting his eyes too tightly.
The good photographer will produce a competent picture every time whatever his subject. But only when his subject makes and immediate and direct appeal to his own interests will he produce a work of distinction.
I do not believe that it is necessarily the duty of the writer to give a voice to his community. If a writer is true to his vocation, to his or her vocation, the very process of creativity enlarges these human horizons. It provides insights, even when you're not writing, when your writing's not dealing with a concrete political situation.
I do not think one can assess a writer's motives without knowing something of his early development. His subject matter will be determined by the age he lives in ... but before he ever begins to write he will have acquired an emotional attitude from which he will never completely escape.
Don’t go searching for a subject, let your subject find you. You can’t rush inspiration. … Once your subject finds you, it’s like falling in love. It will be your constant companion. Shadowing you, peeping in your windows, calling you at all hours to leave messages like, Only you understand me.
You are Christians; find out what is true and false in Christianity - and you will then find out what is true. Find out what is true and false in your environment with all its oppressions and cruelties, and then you will find out what is true. Why do you want philosophies?
True celebration should come from your life, in your life. And true celebration cannot be according to the calendar, that on the first of November you will celebrate. Strange, the whole year you are miserable and on the first of November suddenly you come out of misery, dancing. Either, the misery is false, or the first of November is false; both cannot be true. And once the first of November has gone, you are back in your dark hole, everybody in his misery, everybody in his anxiety.
It is only when you open your veins and bleed onto the page a little that you establish contact with your reader. If you do not believe in the characters or the story you are doing at that moment with all your mind, strength, and will, if you don't feel joy and excitement while writing it, then you're wasting good white paper, even if it sells, because there are other ways in which a writer can bring in the rent money besides writing bad or phony stories.
You have to have passion for a subject to write about it. You can't expect your readers to feel any excitement if it's nothing but a boring writing exercise for you.
I have found, in short, from reading my own writing, that my subject in fiction is the action of grace in territory largely held by the devil. I have also found that what I write is read by an audience which puts little stock either in grace or the devil. You discover your audience at the same time and in the same way that you discover your subject, but it is an added blow.
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