Sally Mann Quotes

Writing is finally about one thing: going into a room alone and doing it. Putting words on paper that have never been there in quite that way before. And although you are physically by yourself, the haunting Demon never leaves you, that Demon being the knowledge of your own terrible limitations, your hopeless inadequacy, the impossibility of ever getting it right. No matter how diamond-bright your ideas are dancing in your brain, on paper they are earthbound.

I feel satisfaction at the end of the day when I've written a scene that I really like or when I write a good line of dialogue that I read out to my wife or something like that. But there's also days where it's just bloody agony and I go, 'ugh, this is such crap! Why did I think I had any talent?

You think you have some stable talent that will show no matter what you're writing, and if it doesn't seem to be getting across to the audience once, you can't imagine that moment when it suddenly will. Gradually, gradually you gain that confidence.

I haven't got a writer's discipline.

Someday I would like to be the kind of writer who barrels through a draft, but I can't even seem to barrel through an interview like this, so I imagine I have a long way to go.

Ah, well, I have no talent for nonfiction, that's my problem.

Writing is a struggle no matter what the genre.

I want to be a better writer. I want to learn and grow, to know how to tell stories in a different and more challenging way. I've learned it doesn't get easier each time. It actually gets harder.

Fine writing is a distinct disadvantage. So is unique literary style. They take attention from the subject

A lot of critics think I'm stupid because my sentences are so simple and my method is so direct: they think these are defects. No. The point is to write as much as you know as quickly as possible.

You know that sickening feeling of inadequacy and over-exposure you feel when you look upon your own empurpled prose? Relax into the awareness that this ghastly sensation will never, ever leave you, no matter how successful and publicly lauded you become. It is intrinsic to the real business of writing and should be cherished.

It does feel great to be writing, but the process is sometimes excruciating.

The idea for each of the stories in this book came in a moment of belief and was written in a burst of faith, happiness, and optimism. Those positive feelings have their dark analogues, however, and the fear of failure is a long way from the worst of them. The worst - for me, at least - is the gnawing speculation that I may have already said everything that I have to say, and am now only listening to the steady quacking of my own voice because the silence when it stops is just too spooky.

I suffer as always from the fear of putting down the first line. It is amazing the terrors, the magics, the prayers, the straitening shyness that assail one. It is as though the words were not only indelible but that they spread out like dye in water and color everything around them. A strange and mystic business, writing.

Grub Street turns out good things almost as often as Parnassus. For if a writer is hard up enough, if he’s far down enough (down where I have been and am rising from, I am really saying), he can’t afford self-doubt and he can’t let other people’s opinions, even a father’s, keep him from writing.

It's often a matter of sitting in front of the computer and worrying. It's what writing comes down to--worrying that things aren't going to work out.

I sometimes think that I can't do the bigger thing that [Zadie Smith] do so beautifully, as in Swing Time, with so much world in it and so much rapturous paint thrown around. I don't think it would be possible to write a book on that scale with as much OCD as I have.

I made up my mind long ago to follow one cardinal rule in all my writing-to be clear. I have given up all thought of writing poetically or symbolically or experimentally, or in any of the other modes that might (if I were good enough) get me a Pulitzer prize. I would write merely clearly and in this way establish a warm relationship between myself and my readers, and the professional critics-Well, they can do whatever they wish.

I remember a point in [writing] the story where I said, "This isn't working, I should go and buy something at the supermarket or my wife will kill me." Then I said, "No, I'll go on."

Before I studied story, I was trying to write a novel, and it was terrible. It wasn't going anywhere, and I couldn't figure out what I was trying to do. It was really hard; much harder than I thought it was going to be. Now that I've studied story, I think I'd have a different approach and maybe I could actually get it done.

I'm definitely feeling whatever's going on pretty hard. It's like playing Barbies. You're holding the Barbies, but all of the action is happening inside of your head. You might be holding them or even speaking out loud, but really, all of the animation is internal. That's sort of how I feel about my writing. And then the really awful thing is that at the end of the day after crying and experiencing things, then you look at what you've written and you're like, "Hmm, there's half a page that's good here." Then you throw out everything else.

I do not write with ease, nor am I ever pleased with anything I write. And so I rewrite.

People ask me whether I think that one day I might wake up one morning and run dry, but I've had the opposite feeling - that I would die before I had time to write all the ideas in my drawer.

I look at albums like novels. If you write a really good scene or a really good moment, just because you wrote it, doesn't mean that it fits with the story that you're writing.

I wish I could write. I get these ideas but I never seem to be able to put them in words.