Quotes About Writing

I wrote '33 Men' in eight weeks. Not only was it a combination of simultaneously writing and interviewing, but as I dug deeper into the miners' story, I found the key to their success was the ability to place their individuality on the back burner and bring forward the sense of a collective group responsibility.

I act as a sponge. I soak it up and squeeze it out in ink every two weeks.

Sometimes I write quickly, sometimes I spend several weeks on a single poem. I would really love for readers not to be able to guess which of the poems took so much work!

Normally, I spend a week on the outline and take two weeks to write the book.

I write an actual script rather quickly - a draft will take me two weeks - but I write a lot of drafts. My big thing is I don't re-read. When I write, I never re-read back. I'll send it, because if I re-read back, it will cripple me.

Two weeks before Owen Hart's death I objected in writing to the obscenity and the safety.

I put the storyboard down and came back to it like two weeks later and saw that I had written 'Butt-Head' next to the picture, and it kind of made me laugh and I thought, Well, might as well go for every laugh you can get.

Barton Fink got written very quickly, in about three weeks. I don't know what that means.

I'm too shy for personal appearances, and I've found out that anytime I talk about my writing, I can't do any writing for many weeks afterward.

I felt for a while with the GH appearances, they were kind of using me as a media trick, bringing me on for three or four weeks, saying I was back on the show, but not really writing for me. And then I would be gone. I just didn't like that anymore. I guess it was me putting my foot down.

It can be dismaying, all the same, for a novelist to compare the slowness of the writing with the speed of the reading. Novels are read in a matter of days, even hours. A writer may labor for weeks over a particular passage that will have its effect on a reader for an instant - and that effect may be subliminal or barely noticed.

I procrastinate in spades. In my defence, I also try to have all other distractions solved before I can concentrate on writing. My small theory is that to write for three hours, you need to feel like you have three days. To write for three days, you need to feel like you've got three weeks, and so on.

I teach classes 28 weeks of the year, but the rest of the time I do research and write books. While I'm writing a book, which I probably do two out of every three years, it's like having a second job. I squeeze in the hours when I can.

When the writing is going really well, whole days and weeks go by, and I suddenly realise I have all these unpaid bills and, my God, I haven't unpacked, and the suitcase has been sitting there for three weeks.

For me, I need to fully immerse myself in a script to the point where I'm literally locking myself away for weeks at a time and I just write it. So I can write twelve to fifteen hours in a day, with breaks in between, obviously, but I need to just sort of live within the world of the script.

All of the little entries in 'The Cows' were written in an irregular way. There might be one or two done one day, and then two weeks might go by or four weeks, and then they were put in an order or sequence.

I think I wrote 'The Trysting Place' in about three weeks. But it was inexperience that made me have to do that. I didn't feel good about the book all the time I was writing it. It felt a bit like wading through molasses.

In the early days, it was, you know, I used to weep while I was writing. I used to grab at any kind of anything, any hint, any tip of how to make it easy.

If I could visit dead authors, I'd head right over to E. B. White, though I'm so in awe of him I'd probably just sit at his feet and weep. He's the master of clarity, of understated humor, of palatable political conviction.

I found 'The Twin' sitting on a coffee table at a writers' colony in 2009. It carried praise from J.M. Coetzee. That seemed ample justification for using it to avoid my own writing. I finished it - weeping - a day later, and I've been puzzling over its powerful hold on me ever since.

The book may be garbage, but if it weighs in at a kilo or more, I stand before its author in awe.

You know how some people write every day at a certain point? I'm not like that. I carry something around for a long time. I weigh the words and the sentences. I weigh the paragraphs. The process is much more meditative for me.

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.

There's always going to be a little bit of autobiographical content to everything. It's how you lend some authority to what you write - you give it that weight by drawing on your direct experiences and indirect experiences from people that you know well, or a little.