Russell Hoban Quotes

The only other thing which I think is important is: Don't write a book or start a book with the expectation of communicating a message in a very important way.

In character, as it were, the writer settles for an impression of what happened rather than creating the sense of the thing happening.

To be a writer you should read, write and talk to people, hear their knowledge, hear their problems. Be a good listener. The rest will come.

Technique in the minds of many is something rigid, something like a formula that you impose on the material; but in the best stories it is something organic, something that grows out of the material, and this being the case, it is different for every story of any account that has ever been written.

People who go on to be writers are those who can forgive themselves the horror of the first draft.

If you directly try to write about an idea, it will never be what you imagined. But if you're imagining through the building of sentences, through the characters, and paying attention to avoid ease and comfort yet still thinking about making the sentences work, you will get a shot at some real interesting stuff.

I have to go with what I do, and what I do has more to do with what people say to each other than telling a story through images. Of course, you're trying to do both. And there are some people who are brilliant at it, but I don't consider myself to be particularly good at it. My mind gets into a verbal mode.

I think the best advice I got was to not worry about what other people would think while you were working on your first draft. Focus on getting it out of your head. You can always edit the manuscript later.

Making art is a rite of initiation. People change their souls.

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.

The thing I always guard against when I'm talking to people I'm working with about a script is that there's a thing I don't like and it's called "talk story." It's when you're talking about the story; the characters are tasked with talking about the story instead of allowing the audience to experience the story.

Throughout my career I've struggled to encourage people to read my books on a more metaphorical level. I'm less attached to my settings than, for example, Saul Bellow. The setting of a novel for me is just a part of the technique. I choose it at the end.

I don't write easily or rapidly. My first draft usually has only a few elements worth keeping. I have to find what those are and build from them and throw out what doesn't work, or what simply is not alive.

Let the writer take up surgery or bricklaying if he is interested in technique. There is no mechanical way to get the writing done, no shortcut. The young writer would be a fool to follow a theory. Teach yourself by your own mistakes; people learn only by error. The good artist believes that nobody is good enough to give him advice. He has supreme vanity. No matter how much he admires the old writer, he wants to beat him.

There's a difference between writing for a living and writing for life. If you write for a living, you make enormous compromises.... If you write for life, you'll work hard; you'll do what's honest, not what pays

Making people believe the unbelievable is no trick; it's work... Belief and reader absorption come in the details: An overturned tricycle in the gutter of an abandoned neighborhood can stand for everything.

To invent a story, or admirably and thoroughly tell any part of a story, it is necessary to grasp the entire mind of every personage concerned in it, and know precisely how they would be affected by what happens; which to do requires a colossal intellect: but to describe a separate emotion delicately, it is only needed that one should feel it oneself; and thousands of people are capable of feeling this or that noble emotion, for one who is able to enter into all the feelings of someone sitting on the other side of the table.

Reread, rewrite, reread, rewrite. If it still doesn't work, throw it away. It's a nice feeling, and you don't want to be cluttered with the corpses of poems and stories which have everything in them except the life they need.

People talk about medium. What is your medium? My medium as a writer has been dirt, clay, sand--what I could touch, hold, stand on, and stand for--Earth. My medium has been Earth. Earth in correspondence with my mind.

If writing is thinking and discovery and selection and order and meaning, it is also awe and reverence and mystery and magic....Authors arrive at text and subtext in thousands of ways, learning each time they begin anew how to recognize a valuable idea and how to reader the texture that accompanies, reveals or displays it to its best advantage.

[Ernest ]Hemingway always said, "Write about what you know." I think you can do that, and if you want to write about what you don't know, you can. It just takes a lot more work.

James Blish told me I had the worst case of "said bookism" (that is, using every word except said to indicate dialogue). He told me to limit the verbs to said, replied, asked, and answered and only when absolutely necessary.

I make up stories that take place in real space with real people. If I could convert this into a technique for experimental novels, I might really be onto something.

I had an epiphany where I realised that there are song titles everywhere - in advertising, in conversations with people at the grocery store - and every time I open my mind to that and find titles, I then weave a story around that.

I let my characters do the talking, simple as that.