Quotes About Writing

I'm a freelance writer, and I work alone at a big desk in the living room of my apartment. There are many days when I don't utter a single word to anyone but my husband.

I don't mind being distracted. I don't want to sit there in utter silence and type. If the phone rings, I usually answer it, speak for a few minutes and return to writing, or go for a walk in and out of the rooms. I don't mind a break.

Le Corbusier is an outstanding writer. His ideas achieved their impact in large measure because he could write so convincingly. His style is utterly clear, brusque, funny and polemical in the best way.

The cool thing about writing is that there is really never a typical day. Sometimes I get a rhythm going and head off to work every morning and come home at night. Sometimes I'll write for two days straight and then be utterly blank for the next two.

Each story presents a mystery that has to be solved in the process of writing. When I'm at work on a story, I'm completely immersed in that world and in the lives of those characters; they're utterly real to me. Then, when I've completed the story, it all just falls away. The whole compulsion to understand is over.

Many fantasy novels - 'Lord of the Rings', for instance, or 'Lavondyss' by Robert Holdstock - are beautifully written. Geoff Ryman's 'The Child Garden' is exquisite and utterly beguiling. Mervyn Peake's 'Gormenghast' trilogy is an astonishing piece of multi-faceted storytelling. So quality of writing does not condemn the genre.

Writing is such a strange, utterly mysterious process. First, there was nothing; then, suddenly, there was something. I don't know where thoughts are born. Where the hell does it come from? I don't know. I really don't know.

So much of my writing derives from these questions that I ask myself - things that are utterly beyond my personal set of experiences - and it's my attempt to try to... understand, to sort of break out of my own consciousness, you know, the limitations of my own life.

I used to work in kitchens, doing 12 or more hours a day of physical labor, so today, eight to 12 hours of cooking, chatting or filming feels like a vacation. When I have a scheduled 'day off,' I spend several hours writing, then I clean until I crash from fatigue. I don't relax well.

I'm pleased to have outsold great writers. But I'm not insane - I realize I am a writer people buy to take on vacation.

I was very pleased, obviously, to have outsold great writers. But I'm not insane - I do realise that I am a popular writer who people buy to take on vacation.

I don't need the water to be inspired. My stories inspire me, not the location of where I'm parked. And good thing, since I've had to finish books in airports, in the RV we used to have, the lake house, while on vacation, at home, in the kitchen when my office PC was on the fritz.

A vacation for me is when I'm home and I'm writing.

I do have a personal life. I spend half of the week at home. One of those nights, I'll go out with some friends and have a good time. I have a day and a half at home, and love to just sit on my backyard by my pool, read a book, or do some writing. That's my vacation.

In 'Twilight,' you're setting up the world. You're introducing the world, and I was also writing in a vacuum because I didn't know who the actors were going to be. Now you're going to 'New Moon' and 'Eclipse,' and I could write specifically to them in my mind. So it becomes a more comfortable world.

I think going into 'New Moon,' I knew the characters better. I knew the world better and I knew the actors who would be playing these roles. I had a sense of their rhythms and tones. 'Twilight' I was writing in a vacuum. We hadn't cast it yet.

After 20 years of writing in basically a vacuum, I love being part of a community. I've vetted other writers' contracts for them and do publicity for free just because I like a book. Some people think of it as hubris or careerism, but I love to champion books. You can't use your whole sphere of influence just to help yourself.

An editor is an accomplice, looking in from the outside. That objective view is essential. We don't write in a vacuum, and we don't publish in a vacuum.

With 'Interpreter,' I didn't know it was ever going to be a book, that they were going to be published. I was writing them in a vacuum for the most part. They were my apprentice work. Then the stories happened to become a book.

So much magazine writing is playing to an empty room. You work like a plow horse, your words get printed on a half-million or more copies, and then it often just disappears into this national vacuum.

When you write your first book, you're writing in a vacuum; it doesn't matter how much time it takes. And then with the second book, you're on contract, and you have deadlines, and it's a little bit tougher. And also the expectations. You don't want to let your characters down.

When we put the pen to paper, we articulate things in our life that we may have felt vague about. Before you write about something, somebody says, 'How do you feel?' and you say, 'Oh, I feel okay.' Then you write about it, and you discover you don't feel okay.

I don't have goals when writing books, apart from getting to the end. I have rather vague ideas about how I want things to feel, I'm big on ambience. I have a title, a beginning and a probable ending and go from there.

I think what happens with a lot of writing and art is that specificity ends up being relatable while universality becomes vague.