Paul Auster Quotes

I tend to elongate the sentences as I'm writing and editing, and there is just something about the feeling of writing longhand that I really love.

Long sentences in a short composition are like large rooms in a little house.

With each book you write you should lose the admirers you gained with the previous one.

I ended up [doing video] meeting Gillian [Grassie] at the same time that we were getting together a book. We ended up working on it, and she recognized that I had a flair for certain things, and we've worked through it together so that the writing could be really good. It was the perfect partnership, just finding my literary voice and figuring out how comedy translates to the written word.

I try to write books that are different from the books I've already written. I think one of the thing I really try to do is reinvent how a novel can be written.

And it's kind of my own fault too, in the sense that I've used my own life as a literary device so much. I think people feel very comfortable reviewing the idea of me, as opposed to what I've actually written. I find that most of the time, when people write about one of my books, they're really just writing about what they think I may or may not represent, as sort of this abstract entity. Is that unfair? Not really. If I put myself in this position where I'm going to kind of weave elements of memoir into almost everything, well, I suppose that's going to happen.

The art of writing books is not yet invented. But it is at the point of being invented. Fragments of this nature are literary seeds. There may be many an infertile grain among them: nevertheless, if only some come up!

Some writers are writing one great, big book and just taking all these different avenues towards it. They might seem on the outside to be different, but they're really not. And that's a different kind of mindset. I don't know why it is, but I just feel like I really want to escape myself as much as I can - myself as the artist, or as the writer, or as the thinker - with each new project, because one, it's just boredom, but also, I guess I just feel most comfortable starting a new book if I just feel a little in the dark about it.

For most of my life, when I've finished the book I'm writing, there've always been as many as two or three other novels waiting to be written next. And the decision driving which one of them it should be was never based on how long it had waited or how many accumulated pages of notes I had.

I confess to wincing every so often at a poorly chosen word, a mangled sentence, an expression of emotion that seems indulgent or overly practiced. I have the urge to cut the book by fifty pages or so, possessed as I am with a keener appreciation for brevity.

The best book of the year, Grobel's writing is quite marvelous. The Hustons reads vividly, just like one of John Huston's great films.

I don't write as much now as I used to, but I write. The lines still come, maybe periodically, and I'll go through these little bursts of time where I write a lot of things then a long period of time where maybe I don't write anything. Or these lines will come into my head and I'll write 'em down in a little book, just little sets of lines, but I won't try to make stories or poems out of them. I'm doing a lot of that now, just the lines.

Books are well written, or badly written. That is all.

...black women write differently from white women. This is the most marked difference of all those combinations of black and white, male and female. It's not so much that women write differently from men, but that black women write differently from white women. Black men don't write very differently from white men.

Until I became a published writer, I remained completely ignorant of books on how to write and courses on the subject ... they would have spoiled my natural style; made me observe caution; would have hedged me with rules.

I began writing as an experimental writer.

There is only one way to defeat the enemy, and that is to write as well as one can. The best argument is an undeniably good book.

By about the sixth romance I knew I wasn't in exactly the right place. I liked writing action. And I wanted to write a book with a little more edge than I was allowed in romance.

Friends open the door for me to write. Then I get paid attention to and it allows me to write other books. The Great Spring and the thirtieth anniversary of Bones just came out and while I'm happy and excited about that, I've already finished a new book. That's what practice does. You don't get caught.

Words have weight, sound and appearance; it is only by considering these that you can write a sentence that is good to look at and good to listen to.

Kids love to be silly, they love to laugh, so I think it was natural for my kids to like the sort of books that I write - and it's the only kinds of books I'm capable of writing.

It's a critical fallacy of our times ... that a writer should 'grow,' 'change,' or 'develop.' This fallacy causes us to expect from children or radishes: 'grow,' or there's something wrong with you. But writers are not radishes. If you look at what most writers actually do, it resembles a theme with variations more than it does the popular notion of growth.

I should say that I'm not conscious of any particular style or any particular literary device when I am writing. I have written 22 books, and they are all very different. I have tried all kinds of genres.

The book works better if I know everything I can about the ending. Not just what happens, but how it happens and what the language is; not just the last sentence, but enough of the sentences surrounding that last sentence to know what the tone of voice is. I imagined it as something almost musical. Then you are writing toward something; you know the sound of your voice at the end of the story. That's how you want to sound in those final sentences: the degree that it is uplifting or not, the degree that it is melancholic or not.

Through the years, I have always enjoyed anything Chuck Swindoll has written. When I first got into writing Chuck's books really modeled a style of writing that I thought was accessible to people and yet still biblical. I wanted to do that.