George Saunders Quotes

As a dramatist, you have 200 choices at every fork in the road. But the audience will reject it if you make the wrong choice, if they feel you are trying to shape the character in a way that suits you. It rings false immediately. People can sense when you're being cynical or schematic.

I guess I think I'm writing for people who are smarter than I am, because then I'll be doing something that's worth their time. I'd be very afraid to write from a position where I consciously thought I was smarter than most of my readers.

I think it's up to writers to write stuff that is compelling enough that people want to watch.

I think cinema is better today that you can be more daring with what you do. If you do it well. With that comes a responsibility not to bore people with vulgarity and all that stuff. To know how to do it right, know how to lay it out there.

You don't write a novel out of sheer pity any more than you blow a safe out of a vague longing to be rich. A certain ruthlessness and a sense of alienation from society is as essential to creative writing as it is to armed robbery.

I don't know if it's possible to affect my ego any more. There's no room left. For me, I think I make music like the way I think it should be made, like what rock should sound like. It has nothing to do with the current marketplace. And so from that state of mind, it's gonna sound different from anything else out there. And when something sounds different, I think that can be inspiring to other musicians.

A good writer always works at the impossible.There is another kind who pulls in his horizons, drops his mind as one lowers rifle sights.

My fellow actors inspire me a lot and really good writing inspires me. And then trying to stick to the decision to only do something that I think will challenge me and that I, personally and very subjectively, I think is good not do something because I think it will bring me a lot of money or bring me a lot of awards. I've tried to very, very rigorously be highly subjective about what I do. And that's something that I think I have basically lived by.

I choose to think of tv audience as nameless, formless, faceless people who are all like me. And anything that I write, if I like it, they'll like it.

One of the things about what . . . I do - writing plays - is that a poll is not taken before you say, Well, I'm going to write this because I think that you're going to like this and therefore you'll buy a ticket for this.

The subject of the poem usually dictates the rhythm or the rhyme and its form. Sometimes, when you finish the poem and you think the poem is finished, the poem says, "You're not finished with me yet," and you have to go back and revise, and you may have another poem altogether. It has its own life to live.

In fiction I think we should have no agenda but to tell the truth.

When people try to use religion to address the natural world, science pushes back on it, and religion has to accommodate the results. Beliefs can be permanent, but beliefs can also be flexible. Personally, if I find out my belief is wrong, I change my mind. I think that's a good way to live.

I think the way you become a good storyteller is to read a lot of stories and evaluate them in your own mind.

In terms of writing, I think what most fiction writers treasure more than anything is the feeling that they're living for the length of a book inside another person.

People think that writing is writing, but actually writing is editing. Otherwise, you're just taking notes

The aim is to burn through to first thoughts, to the place where energy is unobstructed by social politeness or the internal censor, to the place where you are writing what you mind actually sees and feels, not what it thinks it should see or feel.

If an author be supposed to involve his thoughts in voluntary obscurity, and to obstruct, by unnecessary difficulties, a mind eager in the pursuit of truth; if he writes not to make others learned, but to boast the learning which he possesses himself, and wishes to be admired rather than understood, he counteracts the first end of writing, and justly suffers the utmost severity of censure, or the more afflicting severity of neglect.

I write a song because I want to. I think the moment you start writing it to make money, you're starting to kill yourself artistically.

I, myself, write to change my life, to make it come out the way I want it to. But other people write for other reasons: to see more closely what it is they are thinking about, what they may be afraid of. Sometimes writers write to solve a problem, to answer their own question. All these reasons are good reasons. And that is the most important thing I'll ever tell you. Maybe it is the most important thing you'll ever hear. Ever.

When you first start writing-and I think it's true for a lot of beginning writers-you're scared to death that if you don't get that sentence right that minute it's never going to show up again. And it isn't. But it doesn't matter-another one will, and it'll probably be better. And I don't mind writing badly for a couple of days because I know I can fix it-and fix it again and again and again, and it will be better.

I really think one of the greatest allies you can have is the imagination of your audience.

I don't card out my screenplays ever. I just have an idea I just sit down and write I don't edit. Sometimes the first draft will come out at 200 pages. I think and think and I go, "um this story is about the brother that appears on page 178." I go back and I rewrite.

I think that sense of unreality inspired me to write the story within the book that [August] Brill tells himself, one of the stories he tells himself.

You just have to do the thing that you feel is true to your vision, and then the audience will make the decision. But as soon as you feel like you're creating a product to just cater to what you think they want, it never works. It always feels phony. And the audience can tell immediately.