A Quote by John Steinbeck
If there is a magic in story writing, and I am convinced that there is, no one has ever been able to reduce it to a recipe that can be passed from one person to another. The formula seems to lie solely in the aching urge of the writer to convey something he feels important to the reader. If the writer has that urge, he may sometimes but by no means always find the way to do it.
Related Quotes
If there is a magic in story writing, and I am convinced there is, no one has ever been able to reduce it to a recipe that can be passed from one person to another.
The primary urge that motivates and engenders writing...is the writer's desire to invent and tell a story, and to know himself. But the more I write, the more I feel the force of the other urge, which collaborates with and completes the first one: the desire to know the Other from within him. To feel what it means to be another person. To be able to touch, if only for a moment, the blaze that burns within another human being.
No one can teach writing, but classes may stimulate the urge to write. If you are born a writer, you will inevitably and helplessly write. A born writer has self-knowledge. Read, read, read. And if you are a fiction writer, don't confine yourself to reading fiction. Every writer is first a wide reader.
No one can teach writing, but classes may stimulate the urge to write. If you are born a writer, you will inevitably and helplessly write. A born writer has self-knowledge. Read, read, read. And if you are a fiction writer, dont confine yourself to reading fiction. Every writer is first a wide reader.
To me writing was not a career but a necessity. And so it remains, though I am now, technically, a professional writer. The strength of this inborn desire to write has always baffled me. It is understandable that the really gifted should feel an overwhelming urge to use their gift; but a strong urge with only a slight gift seems almost a genetic mistake.
How often I have tried to tell writing students that the first thing a writer must do is love the reader and wish the reader well. The writer must trust the reader to be at least as intelligent as he is. Only in such well wishing and trust, only when the writer feels he is writing a letter to a good friend, only then will the magic happen.
It is easier for the reader to judge, by a thousand times, than for the writer to invent. The writer must summon his Idea out of nowhere, and his characters out of nothing, and catch words as they fly, and nail them to the page. The reader has something to go by and somewhere to start from, given to him freely and with great generosity by the writer. And still the reader feels free to find fault.
As a reader, when the writer gets sentimental, you drift, because there's something fishy going on there. You recognize a moment that's largely about the writer and the writer's own need to believe in something that might not in fact exist. As a reader, you think, 'Where did the story go? Where did the person I'm reading about go?'
Literature taught me that I wasn't alone, that I could become a writer if I worked at it, that my story mattered. Whether a young reader becomes a writer or not, they deserve to know that their story, whatever it may be, is important.
The basic rule [of writing] given us was simple and heartbreaking. A story to be effective had to convey something from the writer to the reader, and the power of its offering was the measure of its excellence. Outside of that, there were no rules.
There is yet another illusion, that it is important to be respectable, to be loved and appreciated, to be important. Many say we have a natural urge to be loved and appreciated, to belong. That’s false. Drop this illusion and you will find happiness. We have a natural urge to be free, a natural urge to love, but not to be loved.
There's an old adage in writing: 'Don't tell, but show.' Writing is not psychology. We do not talk 'about' feelings. Instead the writer feels and through her words awakens those feelings in the reader. The writer takes the reader's hand and guides him through the valley of sorrow and joy without ever having to mention those words.
In the broadest possible sense, writing well means to communicate clearly and interestingly and in a way that feels alive to the reader. Where there’s some kind of relationship between the writer and the reader - even though it’s mediated by a kind of text - there’s an electricity about it.
[...] I suppose this was the first time I had ever felt an urge not to be. Never an urge to die, far less an urge to put an end to myself - simply an urge not to be. This disgusting, hostile and unlovely world was not made for me, nor I for it. It was alien to me and I to it.
I’m convinced that fear is at the root of most bad writing. Dumbo got airborne with the help of a magic feather; you may feel the urge to grasp a passive verb or one of those nasty adverbs for the same reason. Just remember before you do that Dumbo didn’t need the feather; the magic was in him.
I get intrigued by a first lin and I write to find out why it means something to me. You make discoveries just the way the reader does, so you're simultaneously the writer and the reader.
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