Toni Morrison Quotes

My mind goes really quickly and I tend to talk really fast, as you've probably heard, I sometimes lose track of my syntax, as I'm talking that fast. The only thing I try to do, well, it's slow down, but also I do something when I'm reading that's similar to when I'm writing a section, which is to really try to imagine you on the other side, in a certain way, as an intelligent, sympathetic presence who's rooting for me to tell you a good story.

If I tried to write long-hand, I suppose I'd never finish a novel. I edit too much as I write - the paper would be "white-out" and sharpie marks. Writing with a computer works for me, so I stick with it.

I want to understand the piers of language and music and comprehension that can hold up a building even when what the building houses is an earthquake. This thinking must surely come into the poems I write, but more by osmosis than will.

It's not a matter of old or new forms; a person writes without thinking about any forms, he writes because it flows freely from his soul.

The reason one writes isn't the fact he wants to say something. He writes because he has something to say.

Several factors besides skill are more significant in professional writers than in most amateurs. One is love of the surface level of language: the sound of it; the taste of it on the tongue; what it can be made to do in virtuosic passages that exist only for their own sake, like cadenzas in baroque concerti. Writers in love with their tools are not unlike surgeons obsessed with their scalpels, or Arctic sled racers who sleep among their dogs even when they don't have to.

Words mean what they're generally believed to mean. When Charles II saw Christopher Wren's St. Paul's Cathedral for the first time, he called it "awful, pompous, and artificial." Meaning roughly: Awesome, majestic, and ingenious.

There are nineteen words in Yiddish that convey gradations of disparagement, from a mild, fluttery helplessness to a state of downright, irreconcilable brutishness. All of them can be usefully employed to pinpoint the kind of individuals I write about.

In writing, you discover interior sonorities in words. Dipthongs sound differently beneath the pen. One hears them with their sounds divorced.

Write relentlessly, until you find your voice. Then, use it.

It's a huge Carthusian monastery, stuck down between rocks and sea, where you may imagine me, without white gloves or hair curling, as pale as ever, in a cell with such doors as Paris never had for gates. The cell is the shape of a tall coffin, with an enormous dusty vaulting, a small window... Bach, my scrawls and waste paper - silence - you could scream - there would still be silence. Indeed, I write to you from a strange place.

Before using a fine word, make a place for it.

We like books that have a lot of dreck in them, matter which presents itself as not wholly relevant (or indeed, at all relevant) but which, carefully attended to, can supply a kind of "sense" of what is going on. This "sense" is not to be obtained by reading between the lines (for there is nothing there, in those white spaces) but by reading the lines themselves looking at them and so arriving at a feeling not of satisfaction exactly, that is too much to expect, but of having read them, of having "completed" them.

It was always a false assumption that white American writers cannot write novels about race unless they're approaching it from a very oblique angle.

A single word often betrays a great design.

I don't see myself as a deep philosopher. The things I write about tend to be what we all have to face, or consider, or experience, that I talk about with my friends and brothers. It's universal stuff, told in my own voice, my own details and truth, which is all I have to offer.

Let the world burn through you. Throw the prism light, white hot, on paper.

...what I write is smarter than I am. Because I can rewrite it.

I stayed away from drugs, I never smoked a pipe. When I wanna get high, I smoke the mic. I never did white lines, I only write lines, and I ain't sniffin' nothing but the vapors from hype rhymes.

If you can stand to wait 24 hours before you decide the fate of what you have written - either good or bad - you're more likely to see that invisible thing that is invisible for the first few days in any new writing. We just can't know what all is in a sentence until there are several sentences to follow it. Pages of writing need more pages in order to be known, chapters need more chapters.

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.

Write what you want to read. The person you know best in this world is you. Listen to yourself. If you are excited by what you are writing, you have a much better chance of putting that excitement over to a reader.

I do have people in mind when I write. I don't know precisely who they are, however, or how many of them there are.

It occurs to me as I write that this "white light," usually presented dippily (evidence of afterlife, higher power), is in fact precisely consistent with the oxygen deficit that occurs as blood flow to the brain decreases. "Everything went white," those whose blood pressure has dropped say of the instant before they faint.

Tennessee Williams recognized that great theater begins with great talkers, and that great talkers obey two rules: they never sound like anyone else and they never say anything directly.