Quotes About Writing

If people cannot write well, they cannot think well, and if they cannot think well, others will do their thinking for them.

All writers are vain, selfish and lazy, and at the very bottom of their motives lies a mystery. Writing a book is a long, exhausting struggle, like a long bout of some painful illness. One would never undertake such a thing if one were not driven by some demon whom one can neither resist nor understand.

To write or even speak English is not a science but an art. There are no reliable words. Whoever writes English is involved in a struggle that never lets up even for a sentence. He is struggling against vagueness, against obscurity, against the lure of the decorative adjective, against the encroachment of Latin and Greek, and, above all, against the worn-out phrases and dead metaphors with which the language is cluttered up.

He was conscious of nothing except the blankness of the page in front of him, the itching of the skin above his ankle, the blaring of the music, and a slight booziness caused by the gin.

When I sit down to write a book, I do not say to myself, 'I am going to produce a work of art.' I write it because there is some lie that I want to expose, some fact to which I want to draw attention, and my initial concern is to get a hearing.

Never use a metaphor, simile, or other figure of speech which you are used to seeing in print. Never use a long word where a short one will do. If it is possible to cut a word out always cut it out. Never use the passive voice where you can use the active. Never use a foreign phrase a scientific word or a jargon word if you can think of an everyday English equivalent. Break any of these rules sooner than say anything outright barbarous.

He drove his mind into the abyss where poetry is written.

Good prose should be transparent, like a window pane.

The whole experience of being hit by a bullet is very interesting and I think worth describing in detail.

i) Never use a metaphor, simile, or other figure of speech which you are used to seeing in print. (ii) Never use a long word where a short one will do. (iii) If it is possible to cut a word out, always cut it out. (iv) Never use the passive where you can use the active. (v) Never use a foreign phrase, a scientific word, or a jargon word if you can think of an everyday English equivalent. (vi) Break any of these rules sooner than say anything outright barbarous.

What is above all needed is to let the meaning choose the word, and not the other way around. In prose, the worst thing you can do with words is to surrender to them.

Good novel are written by people who are not frightened.

Do you remember writing in your diary, he said, that it did not matter whether I was a friend or an enemy, since I was at least a person who understood you and could be talked to? You were right. I enjoy talking to you. Your mind appeals to me. It resembles my own mind except that you happen to be insane.

I do not think one can assess a writer's motives without knowing something of his early development. His subject matter will be determined by the age he lives in ... but before he ever begins to write he will have acquired an emotional attitude from which he will never completely escape.

Political writing in our time consists almost entirely of prefabricated phrases bolted together like the pieces of a child's Meccano set. It is the unavoidable result of self-censorship. To write in plain, vigorous language one has to think fearlessly, and if one thinks fearlessly one cannot be politically orthodox.

For weeks past he had been making ready for this moment, and it had never crossed his mind that anything would be needed except courage. The actual writing would be easy. All he had to do was to transfer to paper the interminable restless monologue that had been running inside his head, literally for years.

To write in plain, vigorous language one has to think fearlessly, and if one thinks fearlessly one cannot be politically orthodox.

Never use the passive where you can use the active.

Prose consists less and less of words chosen for the sake of their meaning, and more and more of phrases tacked together like the sections of a prefabricated hen-house.

For the first time in my life I took to writing things on walls. The passage-ways of several smart restaurants had ' Visca P.O.U.M.!' scrawled on them as large as I could write it. All the while, though I was technically in hiding, I could not feel myself in danger. The whole thing seemed too absurd. I had the ineradicable English belief that they cannot arrest you unless you have committed a crime. It is a most dangerous belief to have during a political pogrom.

A scrupulous writer, in every sentence that he writes, will ask himself at least four questions, thus: What am I trying to say? What words will express it? What image or idiom will make it clearer? Is this image fresh enough to have an effect? And he will probably ask himself two more: Could I put it more shortly? Have I said anything that is avoidably ugly?

To write books you need not only comfort and solitude—and solitude is never easy to attain in a working-class home—you also need piece of mind. You can't settle in to anything, you can't command the spirit of hope in which anything has got to be created, with that dull evil cloud of unemployment hanging over you.

It is bound to be a failure, every book is a failure, but I do know with some clarity what kind of book I want to write.

the writer knows more or less what he wants to say, but an accumulation of stale phrases chokes him like tea-leaves blocking a sink.