George Saunders Quotes

A page of Addison or of Irving will teach more of style than a whole manual of rules, whilst a story of Poe's will impress upon the mind a more vivid notion of powerful and correct description and narration than will ten dry chapters of a bulky textbook.

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

I can draw pencil lines to show something is moving, but if I'm writing, I struggle with how to write it. The boy ran down the hallway? The boy ran quickly down the hallway? The boy ran down the marble hallway? I agonize over the words. So my editor works very hard. I'm lucky to have her.

Prose is all about embellishing and describing.

I like the challenge of creating a world with only sentences.

Fine writing is a distinct disadvantage. So is unique literary style. They take attention from the subject

To write rhythmic prose one must go deep into oneself and find the anonymous and multiple rhythm of the blood. Prose needs to be built like a cathedral. There, one is truly without a name, without ambition, without help; on scaffoldings, alone with one's consciousness.

Bland writing - timid, antiseptic, vanilla writing - is nearly as unhealthy as the brutal and dark. Instead of sipping, say, elixir, nectar, tequila, or champagne, the reader is invited to slurp lumpy milk or choke on the author's dust bunnies.

I think my leap into TV and movies and comics is in a way natural because I'm a visual storyteller. If you look at any one of my short stories or novels, they sort of unscroll cinematically. Every scene is concrete in my mind. I can walk around the room and pick things up. I can describe at length every feature on the character, though I might only supply a glimpse of this on the page. So if I'm writing color into that I'm also writing texture, I'm pushing the image more than anything else.

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.

Norbert Blei is a writer the way people used to be troubadours and minstrels, celebrating what he has seen and heart and felt in a deceptively simple style reminiscent of the early Sherwood Anderson. . . . Like Anderson, he is a lover, and his affection invests his writing with a singular charm.

But why wasn't I born, alas, in an age of Adjectives; why can one no longer write of silver-shedding Tears and moon-tailed Peacocks, of eloquent Death, of the Negro and star-enameled Night?

I hardly know what I'm going to write - an article, a story, a poem in free verse - or in some regular form. I only know that when I have the first sentence. And when the first sentence makes a kind of pattern, then I find out the kind of rhythm I'm looking for.

Screenplay is the toughest form of writing for me, because you need to be in present tense. You need to be describing things as they occur.

I try to write 'and it's all very funny' after each scene description so that the reader can imagine the movie in their head.

I loved and still love watching words flower into sentences and sentences blossom into stories.

When you write, you want fame, fortune and personal satisfaction. You want to write what you want to write and feel it's good, and you want this to go on for hundreds of years. You're not likely ever to get all these things, and you're not likely to give up writing and commit suicide if you don't, but that is -- and should be -- your goal. Anything else is kind of piddling.

You realize after you travel enough that there's some things that, no matter how good you are at making television, no matter how good your cameras are, how well it's edited, there's no way the lenses could have captured the moment, and there's no way you will ever be able to write about it and do it justice.

Don't you think that's the main reason people find [writing] so difficult? If they can write complete sentences and can use a dictionary, isn't that the only reason they find writing hard: they don't know or care about anything?

I would say that the writers I like and trust have at the base of their prose something called the English sentence. An awful lot of modern writing seems to me to be a depressed use of language. Once, I called it "vow-of-poverty prose." No, give me the king in his countinghouse. Give me Updike.

Kafka could never have written as he did had he lived in a house. His writing is that of someone whose whole life was spent in apartments, with lifts, stairwells, muffled voices behind closed doors, and sounds through walls. Put him in a nice detached villa and he'd never have written a word.

In all pointed sentences, some degree of accuracy must be sacrificed to conciseness.

It takes me six months to do a story. I think it out and then write it sentence by sentence - no first draft. I can't write five words but that I change seven.

The best thing to do is to write about what you know, and if you write about what you know you can always pull those nice little tidbits that hook people, that shows that you know about this world and can bring people into a world that they may not know nothing about.

It's possible, in a poem or short story, to write about commonplace things and objects using commonplace but precise language, and to endow those things—a chair, a window curtain, a fork, a stone, a woman's earring—with immense, even startling power.