Author's Block Quotes

I feel like I'm a natural-born playwright, but the prose thing has always mystified me. How to keep it going? How do people do it, for years and years?

After I wrote my memoir, 'A Long Way Gone,' I was a bit exhausted. I didn't want to write another memoir; I felt that it might not be sane for one to speak about himself for many, many, many years in a row. At the same time, I felt the story of 'Radiance of Tomorrow' pulling at me because of the first book.

I let myself go at the beginning and write with an easy mind, but by the time I get to the middle I begin to grow timid and to fear my story will be too long. . .That is why the beginning of my stories is always very promising and looks as though I were starting on a novel, and the middle is huddled and timid, and the end is...like fireworks.

When once experience taught me that I could work when I chose, and within a quarter of an hour of my determining to do so, I was relieved, in a great measure, from those embarrassments and depressions which I see afflicting many an author who waits for a mood instead of summoning it, and is the sport, instead of the master, of his own impressions and ideas.

I love reading; it's a great way to avoid writing.

I don't like to use writing assignments, exercises. I think too often people get comfortable writing in that vein, but you can't go on to write a novel comprised of short writing exercises.

I've been at writing long enough now to know that every three or four books, I have to start a new direction.

People say it's cathartic to write a book, but it turned out to be quite painful!

In political life, dissatisfaction is remedied, or at least combated, through action. For as long as you are not totally satisfied, you remain active and keep going. In literary life, at some point you have to stop and allow others to read what you have written. I find that difficult. I am probably too proud. In any case, that is why I have never published anything. But I do plan to do so one day.

What profession is more trying than that of author? After you finish a piece of work it only seems good to you for a few weeks; or if it seems good at all you are convinced that it is the last you will be able to write; and if it seems bad you wonder whether everything you have done isn’t poor stuff really; and it is one kind of agony while you are writing, and another kind when you aren’t.

I tried, after I wrote 'Twilight,' to read 'The Historian,' because it was the big thing that summer. But I can't read other people's vampires. If it's too close, I get upset; if it's too far away, I get upset. It just makes me very neurotic.

Melville locked himself away in his room for months while working on 'Moby Dick.' If I ever decide to write a novel, I hope someone will take pity on me and take me out to dinner instead.

In the end, you have to just sit down, shut up, and write.

If I had to write a book, I could not find anything in the world worth saying - as is indeed the case with many voluminous authors.

A weekly column is not always a treat. It can be a tyranny. There are times when I have very little to say. There are times, every year, when I am weighed down with depression. At these times it takes days of slog to force the words on to the page.

So perhaps the best thing to do is to stop writing Introductions and get on with the book.

The creative writer is usually captive to his next book.

I've been working hard on [Ulysses] all day," said Joyce. Does that mean that you have written a great deal?" I said. Two sentences," said Joyce. I looked sideways but Joyce was not smiling. I thought of [French novelist Gustave] Flaubert. "You've been seeking the mot juste?" I said. No," said Joyce. "I have the words already. What I am seeking is the perfect order of words in the sentence.

I remember when I was writing 'The Tin Drum,' I had the totally misguided idea of giving Oskar Matzerath a sister, and he just wouldn't have it. There was no space for a sister, yet I had the character of the sister in my head. In fact I used her in later novels, in 'Cat and Mouse' and 'Dog Years,' Tulla Pokriski.

The trap into which all writers have, will, or should fall into, of writing The Great American Watchamacallit, is such an uncluttered and inviting one that from time to time I'm sure even the greatest have to pull themselves up short by the Shift key to remind themselves that it is story first that they should write.

But then of course you reach a point where you have to say, I've got to figure out how this book's going to end. Otherwise, you're going to write yourself into so many dead-ends.

I have this fantasy. I'm walking past a bookshop and I click my fingers and all my books go blank. So I can start again and get it right.

There's a point at which writing a book, or a long article, begins to feel like mental labor, and it's too painful to connect in the world in any real way mid-process. The only way to survive is to write until it is all said and done.

Your characters get angry at you if you speak about them and stop you from giving birth to them on the page in revenge. Real writers sit down and write. Wannabe writers sit around and talk.

I was aware that there is an expectation that writers inevitably falter at this stage, that they fail to live up to the promise of their first successful book, that the next book never pleases the way the prior one did. It simply increased my sense of being challenged.