William Styron Quotes

The good writing of any age has always been the product of someone's neurosis, and we'd have a mighty dull literature if all the writers that came along were a bunch of happy chuckleheads.

I'm doing one of three things: I'm writing. I'm staring out the window. Or I'm writhing on the floor.

Many are poets, but without the name;For what is Poesy but to createFrom overfeeling Good or Ill; and aimAt an external life beyond our fate,And be the new Prometheus of new men,Bestowing fire from Heaven, and then, too late,Finding the pleasure given repaid with pain

I know quite well that one needs ridiculous, mad situations like that; one can't write really well about anything else. Why was that old fellow such a marvelous propaganda technician? Because he had so many insane, excruciating things to get excited about. You've got to be hurt and upset; otherwise you can't think of the really good, penetrating, X-rayish phrases.

When I write, I tend toward melancholy, and the few times that I've tried pure joy in music, it doesn't really work that well. The joy can be through catharsis. I think that's what I do well, and observation.

I really have no idea where the darkness comes from. Other writers have said that there are two subjects worth writing about, love and death; and since I'm a complete flop when it comes to love, I chose death. Too, maybe because of where I came from, I do find it easy to empathise with and write about certain groups of damaged or downtrodden people: the poor, the addicted.

Many a fervid man writes books as cold and flat as graveyard stones.

I feel often very close to the ecstasy and anguish which lie at the very heart of poetry - I am writing a lot.

I think of poetry as something out there in the world and within each of us. I don't mean that everyone can write poetry - it's an art, a craft, it requires enormous commitment like any art. But there's a core of desire in each of us and poetry goes to and comes from that core. It's the social, economic, institutional gap that makes it difficult.

One day while studying a Yeats poem I decided to write poetry the rest of my life. I recognized that a single short poem has room for history, music, psychology, religious thought, mood, occult speculation, character, and events of one's own life. I still feel surprised that such various substances can find shelter and nourishment in a poem. A poem in fact may be a sort of nourishing liquid, such as one uses to keep an amoeba alive. If prepared right, a poem can keep an image or a thought or insights on history or the psyche alive for years, as well as our desires and airy impulses.

In the mental disturbance and effort of writing, what sustains you is the certainty that on every page there is something left unsaid.

What profession is more trying than that of author? After you finish a piece of work it only seems good to you for a few weeks; or if it seems good at all you are convinced that it is the last you will be able to write; and if it seems bad you wonder whether everything you have done isn’t poor stuff really; and it is one kind of agony while you are writing, and another kind when you aren’t.

Any great artist is wrestling with their sadness and loneliness, their fears, anxieties and securities, and they're transfiguring those into complicated forms of expression that affect our hearts, minds and souls and remind us of who we are as human beings, the fragility of our human status and the inevitability of death.

I do not know what makes a writer, but it probably isn't happiness.

Writing does not exclude the full life; it demands it.

I have this theory that anything that happens to you that leaves you alive and intact can be used somewhere in your writing.

And didn't it always go like that--body parts not lining up the way you wanted them to, all of it a little bit off, as if the world itself were an animated sequence of longing and envy and self-hatred and grandiosity and failure and success, a strange and endless cartoon loop that you couldn't stop watching, because, despite all you knew by now, it was still so interesting.

Stories always have held conflicts and contrasts, highs and lows, life and death situations. And there can be much suffering in stories, but now we say the artist doesn’t have to suffer to show suffering. You just have to understand the human condition, understand the suffering.

Nothing frustrates me more than someone who reads something of mine or anyone else's and says, angrily, 'I don't buy it.' Why are they angry? Good writing does not succeed or fail on the strength of its ability to persuade. It succeeds or fails on the strength of its ability to engage you, to make you think, to give you a glimpse into someone else's head—even if in the end you conclude that someone else's head is not a place you'd really like to be.

It's just writing about things, feelings, not that we're dark or depressed...just as much as anyone else is.

Beauty and truth may be attributes of good writing, but if the writer deliberately aims at truth, he is likely to find that what he has hit is the didactic.

Art comes from joy and pain...But mostly from pain.

...But there's always suffering, Pudge. Homework or malaria or having a boyfriend who lives far away when there's a good-looking boy lying next to you. Suffering is universal. It's the one thing Buddhists, Christians, and Muslims are all worried about.

Good writing isn’t a science. It’s an art, and the horizon is infinite. You can always get better.

You have to sink way down to a level of hopelessness and desperation to find the book that you can write.