LORRIE MOORE

When I was in graduate school, I had a teacher who said to me, 'Women writers should marry somebody who thinks writing is cute. Because if they really realised what writing was, they would run a mile.'

My father was the child of academics and was probably destined to become an academic himself but vetoed that idea. Bailed, dropped out of graduate school and just went to work for an insurance company. But the house was full of books and music and all of that.

Everything one reads is nourishment of some sort - good food or junk food - and one assumes it all goes in and has its way with your brain cells.

I want to create something that doesn't exist exactly in the real world, but exists in a kind of parallel to the real world.

Humor comes from the surprise release of some buried tension.

I've been falsely accused of drawing too much from real life. But I am a petty thief - I take little things. And, I mean, I can hardly write 10 words before I start to make things up. I start to invent, because that's what I want to do. I'm running away to an invented place.

Nabokov's adventures in language and style and naked braininess are really unparalleled.

To me, writing is much freer than dancing. With writing, you could do it whenever you wanted. You didn't have to do little exercises and stay in shape. You could have great moments of inspiration that advanced the story. In dance, unless you're going to choreograph things yourself, you're at the service of someone else.

I'm surrounded by music; I always was when I was growing up and continue to be. And I love music. And when I imagine a fictional world, I imagine there's music in it for those people, too.

I grew up with 'Life' magazine on the coffee table, Life cereal on the breakfast table, and the game of Life on the card table. People were just so happy to be alive, I guess.

It was part of being a girl in the '60s that you were creative.

Literature, of course, is not a contest.

A story is a kind of biopsy of human life. A story is both local, specific, small, and deep, in a kind of penetrating, layered, and revealing way.

You know, I'm just a very boring, not very funny person in person. I don't feel pressured to be otherwise.

You know, as fiction writers, if our instincts are off, we can't pay our bills.

If you record the world honestly, there's no way people can stop being funny. A lot of fiction writing doesn't get that idea, as if to acknowledge it would trivialize the story or trivialize human nature, when in fact human nature is reduced and falsified if the comic aspects are not included.

I'm not sure that niceness is what we should promote in writers.

I've had nonstop financial problems my whole adult life. It's always been a constant balance, year to year: 'Where's the time? Where's the money?'

Rather than a teaching tool, I think a novel is more of a witnessing entity. A witnessing entity? What is that? I just want the reader to step in and experience it as a story.

I'm a little harsh. When people say, 'I have writers block. What do you suggest?' I say, 'If you can't write, don't write. No one needs your writing. Don't torture yourself.'

I think women do write politically all the time. Margaret Atwood does; Doris Lessing does.

An author's life is different, complex, and ongoing, while a character's remains frozen in one little story.

The only really good piece of advice I have for my students is, 'Write something you'd never show your mother or father.' And you know what they say? 'I could never do that!'

Twenty-year-olds have a kind of emotional idealism about relationships and about the world that enables them to say, 'No, you lied to me. Goodbye.' When they see wickedness, they walk away.

I don't sit down to write a funny story. Every single thing I sit down to write is meant to be sad.