Macaulay Culkin Quotes

I try to write in plain brown blocks of American speech but occasionally set in an ancient word or a strange word just to startle the reader a little bit and to break up the monotony of the plain American cadence.

I'm a 'frotteur,' someone who likes to rub words in his hand, to turn them around and feel them, to wonder if that really is the best word possible. Does that word in this sentence have any electric potential? Does it do anything? Too much electricity will make your reader's hair frizzy. There's a question of pacing.

When you are a sentence-based writer, they have to be good. They have to be really on the spot. Because when you don't have a plot, really, what shall you rely on? Just language. And sometimes I am so afraid of writing the wrong thing, I just sit and wait for the right thing to come.

Read and write with a sensitive ear. The craft of writing is very important. Practice the craft.

I really enjoy finding the right word, creating a good, flowing sentence. I enjoy the rhythm of the words.

No matter how wonderful the story, it has to move on something, and that is language. The words that I use, the pace, the rhythm and cadences all need to be there. If they're not there, the story is like a boat that just sits there and doesn't move on the ocean.

For every Scott Fitzgerald concerned with the precise word and the selection of relevant incident, there are a hundred American writers, many well-regarded, who appear to believe that one word is just as good as another and that everything which occurs to them is worth putting down.

I'll agonize over sentences. Mostly because you're trying to create specific effects with sentences, and because there are a number of different voices in the book.

Every writer has his writing technique - what he can and can't do to describe something like war or history. I'm not good at writing about those things, but I try because I feel it is necessary to write that kind of thing.

The story was such that I couldn't make a graceful ending and then make a graceful new beginning. I could have, but I didn't want to. So, it isn't the most graceful way of writing a story. This new story is, I think, is pretty good stuff. I'm pleased with it anyway.

I like commas. I detest semi-colons - I don't think they belong in a story. And I gave up quotation marks long ago. I found I didn't need them, they were fly-specks on the page.

To achieve lasting literature, fictional or factual, a writer needs perceptive vision, absorptive capacity, and creative strength.

I don't really know what an adverb is. A dangling participle? That sounds really rude. I don't know what character is, really. Plot seems vaguely juvenile to me. It's all about language, it's all about how you apply it to the page.

I have not written a perfect sentence, in the literary sense. It's a lot easier to throw a perfect pass than to write a perfect sentence, if that sentence is meant to perform more than a mechanical function.

A lot of writers fall in love with their sentences or their construction of sentences, and sometimes that's great, but not everybody is Gabriel Garcia Marquez or James Joyce. A lot of people like to pretend that they are, and they wind up not giving people a good read or enlightening them.

I usually do at least a dozen drafts and progressively make more-conscious decisions. Because I've always believed stories are closer to poems than novels, I spend a lot of time on the story's larger rhythms, such as sentence and paragraph length, placement of flashbacks and dialogue.

I am not a grammarian. Maybe my style is eccentric.

I'm a language-oriented writer who proceeds sentence by sentence.

At Cornell University, my professor of European literature, Vladimir Nabokov, changed the way I read and the way I write. Words could paint pictures, I learned from him. Choosing the right word, and the right word order, he illustrated, could make an enormous difference in conveying an image or an idea.

While I admire writers who are able to write with a vitality based on order and action, I work in a different vein. I often feel that if I can get the language just right, the language hypnotizes the reader.

The trouble with telling a good story is that it invariably reminds the other fellow of a dull one.

I ain't no author, man... my writing skills are not of 'New York Times' best-seller quality, trust and believe it ain't. My vocabulary ain't.

To write you have to be able to know how to put words together.

I write the last line, and then I write the line before that. I find myself writing backwards for a while, until I have a solid sense of how that ending sounds and feels. You have to know what your voice sounds like at the end of the story, because it tells you how to sound when you begin.

I'm here to get the story on to the page. It would be good to catch your attention, and I have to make you want to read on, and I suppose I prefer you don't actually think about the 'how' at all - the writing technique, the 'style', or even who it is that's putting this together.