Empathetic Writing Quotes

Writing should ... be as spontaneous and urgent as a letter to a lover, or a message to a friend who has just lost a parent ... and writing is, in the end, that oddest of anomalies: an intimate letter to a stranger

I want to be clear about this. If you wrote from experience, you'd get maybe one book, maybe three poems. Writers write from empathy.

In You Are Not Dead Wendy Xu breaks all the old rules that have never done us any favors anyway. She writes beautifully, noticing who we are, and letting us see ourselves with a little more humanity, a little more humor, a little more humility. I'm happy to have read this book.

I have to feel something emotionally on the story to be able to write for it. I turn things down if I don't feel I'm really right to tell that particular story.

I'm speaking to someone I'm trying to get to fall in love with me. I'm trying to speak intimately to one person. That should be clear. I'm not speaking to an audience. I'm not writing for the podium. I'm just writing, trying to write in a fairly quiet tone to one other reader who is by herself, or himself, and I'm trying to interrupt some silence in their life, which is utterance.

What I try to do is write from the inside out. I really try to jump into the world of the film and the characters, try to imagine myself in that world rather than imagining it as a film I'm watching onscreen. Sometimes, that means I'm discovering things the way the audience will, with character and story.

... in nine out of ten cases the original wish to write is the wish to make oneself felt[ellipsis in source] the non-essential writer never gets past that wish.

Good writing does not succeed or fail on the strength of its ability to persuade. It succeeds or fails on the strength of its ability to engage you, to make you think, to give you a glimpse into someone else's head.

You can't be a jerk in order to be a good writer.

I've never written for anybody else. For me, it was a challenge. I write for me. I don't write for anybody else. And what was good about it was that I was writing for somebody I knew. I knew what my mother thinks and how she feels. So it was finding that creative spirit to write about my mother.

Exposition suggests a great trust in the reader, and this expression of trust makes a book feel tender.

I am like my characters - sometimes even the female ones.

Stuart Rojstaczer writes with enormous wit, style and empathy, and The Mathematician's Shiva is a big-hearted, rollickingly funny novel that's impossible to put down. A tremendous debut.

[Kurt] Vonnegut was a writer whose great gift was that he always seemed to be talking directly to you. He wasn't writing, he wasn't showing off, he was just telling you, nobody else, what it was like, what it was all about. That intimacy made him beloved. We can admire the art of John Updike or Philip Roth, but we love Vonnegut.

I don't think I ever worry too much about what our target audience is, what we should be releasing. I just write naturally and organically and try to write from the heart.

Your audience is one single reader. I have found that sometimes it helps to pick out one person-a real person you know, or an imagined person and write to that one.

All great writers are schizophrenics, you know what I'm saying? 'Cause they switch up. They become the person when they write.

I really become the characters when I'm writing them. I'll become one or two of them more than others, I'm consistent that way.

If only you’d remember before ever you sit down to write that you’ve been a reader long before you were ever a writer. You simply fix that fact in your mind, then sit very still and ask yourself, as a reader, what piece of writing in all the world Buddy Glass would most want to read if he had his heart’s choice. The next step is terrible, but so simple I can hardly believe it as I write it. You just sit down shamelessly and write the thing yourself. I won’t even underline that. It’s too important to be underlined.

[Her] love and tenderness ... gave me the faith in love that enabled me to face my dead at last and write this play-write it with deep pity and understanding and forgiveness for all the four haunted Tyrones.

What you're trying to do when you write is to crowd the reader out of his own space and occupy it with yours, in a good cause. You're trying to take over his sensibility and deliver an experience that moves from mere information.

To me some of the greatest writing is when somebody puts something in words that you felt and experienced and you go, that's it.

Others may write from the head, but he writes from the heart, and the heart will always understand him.

If I'm writing a story and you're reading it, or vice versa, you took time out of your day to pick up my book. I think the one thing that will kill that relationship is if you feel me condescending to you in the process. And how does that happen? Well, it happens when I know more than you do, and when I know that I know more than you do, and I'm holding it back from you. So that I can then manipulate you at the end. You know, you think about like in a dating situation how terrible that would be, it's the same thing with a book.

When a natural discourse paints a passion or an effect, one feels within oneself the truth of what one reads, which was there before, although one did not know it. Hence one is inclined to love him who makes us feel it, for he has not shown us his own riches, but ours. ...such community of intellect that we have with him necessarily inclines the heart to love.