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      "slug": "i-headed-toward",
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      "text": "I headed toward home alone, really alone now, telling myself that in all the sprawling immensity of our mighty continent the least-known factor of living was the human heart, the least-sought goal of being was a way to live a human life. Perhaps, I thought, out of my tortured feelings I could fling a spark into this darkness. I would try, not because I wanted to but because I felt that I had to if I were to live at all.",
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      "text": "Yes, the whites were as miserable as their black victims, I thought. If this country can’t find its way to a human path, if it can’t inform conduct with a deep sense of life, then all of us, black as well as white, are going down the same drain…\n\nI picked up a pencil and held it over a sheet of white paper, but my feelings stood in the way of my words. Well, I would wait, day and night, until I knew what to say. Humbly now, with no vaulting dream of achieving a vast unity, I wanted to try to build a bridge of words between me and that world outside, that world which was so distant and elusive that it seemed unreal.\n\nI would hurl words into this darkness and wait for an echo, and if an echo sounded, no matter how faintly, I would send other words to tell, to march, to fight, to create a sense of the hunger for life that gnaws in us all, to keep alive in our hearts a sense of the inexpressibly human.",
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      "text": "Repeatedly I took stabs at writing, but the results were so poor that I would tear up the sheets. I was striving for a level of expression that matched those of the novels I read. But I always somehow failed to get onto the page what I thought and felt. Failing at sustained narrative, I compromised by playing with single sentences and phrases. Under the influence of Stein’s Three Lives, I spent hours and days pounding out disconnected sentences for the sheer love of words. I would write: “The soft melting hunk of butter trickled in gold down the stringy grooves of the split yam.” Or: “The child’s clumsy fingers fumbled in sleep, feeling vainly for the wish of its dream.” “The old man huddled in the dark doorway, his bony face lit by the burning yellow in the windows of distant skyscrapers.” My purpose was to capture a physical state or movement that carried a strong subjective impression, an accomplishment which seemed supremely worth struggling for. If I could fasten the mind of the reader upon words so firmly that he would forget words and be conscious only of his response, I felt that I would be in sight of knowing how to write narrative. I strove to master words, to make them disappear, to make them important by making them new, to make them melt into a rising spiral of emotional stimuli, each greater than the other, each feeding and reinforcing the other, and all ending in an emotional climax that would drench the reader with a sense of a new world. That was the single aim of my living.",
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      "text": "I spent my nights reading Proust’s A Remembrance of Things Past, admiring the lucid, subtle but strong prose, stupefied by its dazzling magic, awed by the vast, delicate, intricate, and psychological structure of the Frenchman’s epic of death and decadence. But it crushed me with hopelessness, for I wanted to write of the people in my environment with an equal thoroughness, and the burning example before my eyes made me feel that I never could.",
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      "text": "“And at last the darkness of the night descended and softly-kissed the surface of the watery grave and the only sound was the lonely rustle of the ancient trees,” I wrote as I penned the final line. I was excited; I read it over and saw that there was a yawning void in it. There was no plot, no action, nothing save atmosphere and longing and death. But I had never in my life done anything like it; I had made something, no matter how bad it was; and it was mine…Now, to whom could I show it?",
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      "text": "My schoolmates could not understand why anyone would want to write a story; and, above all, they could not understand why I had called it The Voodoo of Hell’s Half-Acre. The mood out of which a story was written was the most alien thing conceivable to them.",
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      "text": "When we see a natural style, we are astonished and delighted; for we expected to see an author, and we find a man. Whereas those who have good taste, and who seeing a book expect to find a man, are quite surprised to find an author. Plus poetice quam humane locutus es. \"You have spoken more poetically than humanly.\"",
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      "text": "Every novel is like this, desperation, a frustrated attempt to save something of the past. Except that it still has not been established whether it is the novel that prevents man from forgetting himself or the impossibility of forgetfulness that makes him write novels.",
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      "text": "Hence comes the extreme difficulty which I find in writing. My manuscripts, scratched, smeared, muddled and almost illegible, bear witness to the trouble they have cost me. There is not one of them which I have not been obliged to copy four or five times before I could give it to the printer. I have never been able to produce anything, pen in hand, in front of my table and paper; it is during a walk, in the midst of rocks and forests, at night in my bed while lying awake, that I write in my brain; one may judge how slowly, especially in the case of a man utterly without verbal memory and who has never been able to learn six lines by heart in his life. Many of my periods have been turned and turned again five or six nights in my head before they were fit to be set down on paper. This, also, is the reason why I succeed better in works which require labour than in those which require to be written with a certain lightness of style, such as letters – a style of which I have never been able to properly catch the tone, so that such occupation is a perfect torture to me. I cannot write a letter on the most trifling subject, which does not cost me hours of fatigue; or, if I try to write down immediately what occurs to me, I know neither how to begin nor how to end; my letter is a long and confused mass of verbosity, and, when it is read, my meaning is difficult to make out. Not only is it painful for me to put my ideas into shape: I also find a difficulty in grasping them. I have studied mankind, and believe that I am a fairly shrewd observer; nevertheless, I cannot see clearly anything of all that I perceive; I only see clearly what I remember, and only show intelligence in my recollections. Of all that is said, of all that is done, of all that goes on in my presence, I feel nothing, I see through nothing. The outward sign is the only thing that strikes me. But, later, all comes back to me; I recall place, time, manner, look, gesture, and circumstance: nothing escapes me. Then, from what people have said or done, I discover what they have thought; and I am rarely mistaken. If, when alone with myself, I am so little master of my intellectual capacity, it may be imagined what I must be in conversation, when, in order to speak to the purpose, it is necessary to think of a thousand things at the same time and at once.",
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      "text": "Every writer in the country can write a beautiful sentence, or a hundred. What I am interested in is the ugly sentence that is also somehow beautiful. I agree that this is a highly specialized enterprise, akin to the manufacture of merkins, say—but it’s what I do. Probably I have missed the point of the literature business entirely.",
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      "text": "Some of this book—perhaps too much—has been about how I learned to do it. Much of it has been about how you can do it better. The rest of it—and perhaps the best of it—is a permission slip: you can, you should, and if you're brave enough to start, you will. Writing is magic, as much the water of life as any other creative art. The water is free. So drink. Drink and be filled up.",
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      "text": "I make no conscious effort to be tough, or , or grim, or any of the things I am usually called. I merely try to write as the character would write, and I never forget that the average man, from the fields, the streets, the bars, the offices, and even the gutters of his country, has acquired a vividness of speech that goes beyond anything I could invent, and that if I stick to this heritage, this of the American countryside, I shall attain a maximum of effectiveness with very little effort.",
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      "text": "This is my life now. I’m grateful that I have arrived at this point. This is where I had always wanted to be; writing full-time is much more challenging than I had imagined, but I’m truly enjoying the experience and learning from it each day.",
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      "text": "...my gaze meets the laptop screen and the words I poured out all afternoon. It began yesterday without any particular intent, just a quick reply to my sister. But today when I went back, the email suddenly took on a different form, more feverish, more poetic. I was seized by a storytelling binge, a lucid, cutting clarity, and from page to page the words joined together and frothed and flowed. And it is then that I realize I am not writing to Iris anymore. That the recipient is in fact myself, an as-of-yet unknown self, a me who has long ago gone back to Israel and is living my tomorrow-life in Tel Aviv, a distant me who will one day open up this file and read the words, and perhaps with hindsight have a better understanding of what is occurring inside me now, what I am going through in these mad and beautiful days. She will remember us as we once were, in New York, in Hilmi's Brooklyn studio. She will read the lines and remember how I sat here once on this couch, in December of 2002, like the bird perched on the windowsill all afternoon, and watched myself loving him while I wrote these words. (chapter 14)",
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      "text": "It is difficult to write a really good short story because it must be a complete and finished reflection of life with only a few words to use as tools. There isn't time for bad writing in a short story. In a novel one can be dull for pages and still get away with it. It is, to me, an interesting and baffling fact that today, more than thirty years after The Homely Heroine was written, it still is as difficult for me to write a short story (or anything, for that matter) as it was when first I began. A single short story may take a month, six weeks, two months to write. Usually, the easier they are to read the harder they are to write. Often a short story theme may take a year of conscious and subconscious thinking before it is ripe for writing. Sometimes a possible short story seems too tough to be worth the fight. But it stays around, taunting you, daring you to come on, and finally you write it to be rid of it...In some cases the reader may feel, after reading a short story, approximately the sensation he has experienced after having too hastily eaten a heavy meal. He has treated a dinner as a snack and his digestion rebels.",
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      "text": "All the way from Maugham and de Maupassant and Chekhov to Ring Lardner the short story has served to portray the characteristics, the habits, the manners, the morals, the emotions of a nation, a whole people. Certainly I knew no such highfalutin arguments as these when first I began to write short stories. I wrote short stories for the same reason that a child has who begins to walk after he has learned to stand up and to balance himself. It was for me the next natural step following newspaper reporting. I still think it is one of the most exhilarating and the most difficult forms of the writing art. When a reader says, \"Oh, only a short story!\" he has me to fight. There is something about the pace of the short story that catches the tempo of this country. If it is written with sincerity and skill it portrays a mood, a character, a background, or a situation. Sometimes it is not only typically American, it is universal in its feeling; sometimes its inherent truth is not a thing of the month, but of the years. When this is true, that short story is as genuinely a classic as any novel or play or piece of music.",
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      "text": "All my writing life I have written to please first myself. Never, except wartime, have I written to order on a theme or subject definitely requested or suggested. But war, to me, is not life at all. It is an excrescence, a cancer on the body of civilization.",
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      "text": "This is certain: I never have written a line except to please myself. I never have written with an eye to what is called the public or the market or the trend or the editor or the reviewer. Good or bad, popular or unpopular, lasting or ephemeral, the words I have put down on paper were the best words I could summon at the time to express the thing I wanted more than anything else to say.",
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      "text": "The writer given to rereading his or her past work is a writer in danger. Once you begin to mumble among your souvenirs you're through. Any writer who is properly a writer is working as long as he is alive or awake. It is virtually impossible for a writer to ride in the subway or on a bus, walk on the street or down a country road, telephone, read a book, talk, listen, breathe, without consciously or unconsciously sustaining the act of writing, in his mind at least. The analytical creative mind goes click-click-click while it is awake-and sometimes while it is asleep. It makes the writer's life interesting but somewhat feverish. Frequently one wishes it were possible to turn off the machinery that is eternally registering, collecting, discarding, filing. Writers are a tired lot, for the most part; and no wonder. It would be pleasant to know that these stories, some born long ago, others still young, have the strength and vitality to make new friends and even to renew old friendships. The writer herself is fond of them, or they would not be here. But the feeling is much that of a parent whose sons and daughters have married and gone off into the world. There they are, on their own at last, sink or swim, live or die. The author is finished with them, everything she can do for them has been done. And a new infant, not yet strong enough to walk alone, waits to be shown a way of life.",
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      "text": "Don't worry about your talent or capability: that will grow as you practice. […] If you want to write a novel, write a novel. If it's essays you want or short stories, write them. In the process of writing them, you will learn how. You can have the confidence that you will gradually acquire the technique and craft you need.\n\n[…] We learn writing by doing it. That simple.",
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      "text": "The Boyett Style Guide: (a) anything worth doing is worth overdoing (I can’t write a check if it isn’t in iambic pentameter); (b) anything worth saying is worth saying three times; (c) leave no literary stone unturned; (d) fill all cracks, paint all surfaces, and illuminate all dark corners; and (e) whenever two or more metaphors are suitable, use them all. I never metaphor I didn’t like.",
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      "text": "Belief in one’s identity as a poet or writer prior to the acid test of publication is as naive and harmless as the youthful belief in one’s immortality...and the inevitable disillusionment is just as painful.",
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      "text": "Throughout my career I've lived in constant fear that I wouldn’t be good enough, that I'd have nothing to say, that I’d be laughed at, humiliated—and I’m old enough to know that fear will follow me to the very last word I'll ever write. As for now, I feel the first itch of the novel I’m supposed to write—the grain of sand that irritates the soft tissues of the oyster. The beginning of the world as I don’t quite know it. But I trust I’ll begin to know it soon.",
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      "text": "Writing is born as the maidservant of human consciousness, but is increasingly becoming its master. Our computers have trouble understanding how Homo sapiens talks, feels and dreams. So we are teaching Homo sapiens to talk, feel and dream in the language of numbers, which can be understood by computers.",
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      "text": "\"I wouldn't give up altogether,\" said Mr. Harrison reflectively. \"I'd write a story once in a while, but I wouldn't pester editors with it. I'd write of people and places like I knew, and I'd make my characters talk everyday English; and I'd let the sun rise and set in the usual quiet way without much fuss over the fact. If I had to have villains at all, I'd give them a chance, Anne—I'd give them a chance. There are some terrible bad men in the world, I suppose, but you'd have to go a long piece to find them—though Mrs. Lynde believes we're all bad. But most of us have got a little decency somewhere in us.\"",
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      "text": "When you write, it’s like braiding your hair. Taking a handful of coarse, unruly strands and attempting to bring them into unity. Your fingers have still not perfected the task. Some of the braids are long, others are short. Some are thick, others are thin. Some are heavy. Others are light. Like the diverse women in your family. Those whose fables and metaphors, whose similes, and soliloquies, whose diction and je ne sais quoi daily slip into your survival soup, by way of their fingers. (epilogue)",
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      "text": "Of all human activities, writing is the one for which it is easiest to find excuses not to begin – the desk's too big, the desk's too small, there's too much noise, there's too much quiet, it's too hot, it's too cold, too early, too late. I had learned over the years to ignore them all and simply to start.",
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      "text": "A book unwritten is a delightful universe of infinite possibilities. Set down one word, however, and immediately it becomes earthbound. Set down one sentence and its halfway to being just like every other bloody book that's ever been written. But the best must never be allowed to drive out the good. In the absence of genius there is always craftsmanship. One can at least try to write something that will arrest the readers' attention, that will encourage them, after reading the first paragraph, to take a look at the second, and then the third.",
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      "text": "Certain authors, speaking of their works, say, \"My book,\" \"My commentary,\" \"My history,\" etc. They resemble middle-class people who have a house of their own, and always have \"My house\" on their tongue. They would do better to say, \"Our book,\" \"Our commentary,\" \"Our history,\" etc., because there is in them usually more of other people's than their own.",
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      "text": "\"With just the sweep of a pen, Thomas, you can change the world, all of it.\"",
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      "text": "\"Expressive writing\" encourages us to see our misfortunes not as flaws that make us unfit for worldly success (or otherworldly heaven), but as the seeds of our growth.",
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      "text": "The American middle class's faith in personal comfort as an end in itself is, in essence, a denial of life. And it has been imposed upon American writers and playwrights strongly enough to cut them off from their deeper sources. The shortcut to comfort is called “specialization,” and in an eye-ear-nose-and-throat doctor this makes sense. But in a writer it is fatal. The less he sees of other writers the more of a writer he will ultimately become. When he sees scarcely anyone except other writers, he is ready for New York.",
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      "text": "In , Dad found a literature of himself. He'd read and , but from Wright he learned that there was an entire shadow canon, a tradition of writers who grabbed the pen, not out of leisure but to break the chain.",
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      "text": "But I believe in writing — nothing else; just writing. Man may live like a worm, but he writes like a god. There was a time when that secret was known, but now it has been forgotten; the world is composed of disintegrating fragments, an incoherent dark chaos, sustained by writing alone. If you have a concept of the world, if you have not yet forgotten all that has happened, that you have a world at all, it is writing that has created that for you, and ceaselessly goes on creating it; Logos, the invisible spider’s thread that holds our lives together.",
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      "text": "Suddenly one or two good sentences occur to me, suitable for a sketch or story, nice linguistic flukes the likes of which I had never experienced before. I lie there repeating these words to myself and find that they are excellent. Presently they're joined by others, I'm at once wide awake, sit up and grab paper and pencil from the table behind my bed. It was as though a vein had burst inside me - one word follows another, they connect with one another and turn into situations; scenes pile on top of other scenes, actions and dialogue well up in my brain, and a wonderful sense of pleasure takes hold of me. I write as if possessed, filling one page after another without a moment's pause. My thoughts strike me so suddenly and continue to pour out so abundantly that I lose a lot of minor details I'm not able to write down fast enough, though I am working at full blast. They continue to crowd in on me, I am full of my subject, and every word I write is put in my mouth. It goes on and on, it takes such a wonderfully long time before this singular moment ceases to be; I have 15 to 20 written pages lying on my knees in front of me when I finally stop and put my pencil away. Now, if these pages were really worth something, then I was saved!",
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      "text": "None of the new spiders ever quite took her place in his heart. She was in a class by herself. It is not often that someone comes along who is a true friend and a good writer. Charlotte was both.",
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      "text": "Before a culture adopts the use of writing, when its knowledge is transmitted exclusively through oral means, it can very easily revise its history. It’s not intentional, but it is inevitable; throughout the world, bards and griots have adapted their material to their audiences and thus gradually adjusted the past to suit the needs of the present. The idea that accounts of the past shouldn’t change is a product of literate cultures’ reverence for the written word. Anthropologists will tell you that oral cultures understand the past differently; for them, their histories don’t need to be accurate so much as they need to validate the community’s understanding of itself. So it wouldn’t be correct to say that their histories are unreliable; their histories do what they need to do.",
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      "text": "The triumph of the written word is often attained when the writer achieves union and trust with the reader, who then becomes ready to be drawn into unfamiliar territory, walking in borrowed literary shoes so to speak, toward a deeper understanding of self or society, or of foreign peoples, cultures, and situations.",
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      "text": "For much the same reason that there is but one planet to one orbit, so can there be but one such original character to one work of invention.\n\nTwo would conflict to chaos. In this view, to say that there are more than one to a book, is good presumption there is none at all. But for new, singular, striking, odd, eccentric, and all sorts of entertaining and instructive characters, a good fiction may be full of them. To produce such characters, an author, beside other things, must have seen much, and seen through much: to produce but one original character, he must have had much luck.",
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      "text": "A science fiction writer is—or should be—constrained by what is, or logically might be. That can mean simple fidelity to facts (which, in science, are always more important than theories—though Lord knows the two help shape each other, undermining the convenient, complacent separation of observer and observed). To me it also means heeding the authentic, the actual and concrete. Bad fiction uses the glossy generality; good writing needs the smattering of detail, the unrelenting busy mystery of the real.",
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      "text": "As to the Adjective: when in doubt, strike it out.",
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      "text": "Writing the history of the present is always a very different thing from writing the history of the distant past. The history of the distant past depends entirely on literary and documentary sources; the history of the present always involves unwritten material as well as documents. But the difference was much greater in the days of Thucydides than it is now.",
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      "text": "\"You will have to know life,\" she declared, and her voice trembled with earnestness. She took hold of George Willard’s shoulders and turned him about so that she could look into his eyes. A passer-by might have thought them about to embrace. \"If you are to become a writer you’ll have to stop fooling with words,\" she explained. \"It would be better to give up the notion of writing until you are better prepared. Now it’s time to be living. I don’t want to frighten you, but I would like to make you understand the import of what you think of attempting. You must not become a mere peddler of words. The thing to learn is to know what people are thinking about, not what they say.\"",
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      "text": "I saw the business of writing for what it truly was and is to me. It is your penance for not being lucky. It is an attempt to reach others and to make them love you. It is your instinctive protest, when you find you have no voice at the world's tribunals, and that no one will speak for you. I would give my entire output of words, past, present, and to come, in exchange for easier access to the world, for permission to state \"I hurt\" or \"I hate\" or \"I want.\" Or, indeed, \"Look at me.\" And I do not go back on this. For once a thing is known it can never be unknown. It can only be forgotten. And writing is the enemy of forgetfulness, of thoughtlessness. For the writer there is no oblivion. Only endless memory.",
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      "text": "Then it happened. One night as the rain beat on the slanted kitchen roof a great spirit slipped forever into my life. I held his books in my hands and trembled as he spoke to me of man and the world, of love and wisdom, pain and guilt, and I knew I would never be the same. His name was Fyodor Mikhailovich Dostoyevsky. He knew more of fathers and sons than any man in the world, of brothers and sisters, priests and rogues, guilt and innocence. Dostoyevsky changed me. The Idiot, The Possessed, The Brothers Karamazov, The Gambler. He turned me inside out. I found I could breathe, could see invisible horizons. It was time to become a man, to leave San Elmo and go out into the world. I wanted to think and feel like Dostoyevsky. I wanted to write.",
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      "text": "I have never been able to write the story. I reach a certain point and cannot go on. The death of kings can be recited, but not of one’s child.",
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      "text": "Lunatics are writers whose works write them.",
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      "text": "“Anyway...I find what you write interesting.”\n\n“That’s what people usually say when they disagree with it.”",
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      "text": "\"There's a curious knot that binds novelists and terrorists...Years ago I used to think it was possible for a novelist to alter the inner life of the culture. Now bomb-makers and gunmen have taken that territory. They make raids on human consciousness. What writers used to do before we were all incorporated.\"",
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      "text": "When a writer doesn't show his face, he becomes a local symptom of God's famous reluctance to appear.",
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      "text": "The art of biography seems to have fallen on evil times in England. … With us, the most delicate and humane of all the branches of the art of writing has been relegated to the journeymen of letters; we do not reflect that it is perhaps as difficult to write a good life as to live one.",
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      "text": "If I were a writer, how I would enjoy being told the novel is dead. How liberating to work in the margins, outside a central perception. You are the ghoul of literature. Lovely.",
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      "text": "It is not [the biographer's] business to be complimentary; it is his business to lay bare the facts of the case, as he understands them...dispassionately, impartially, and without ulterior motives.",
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      "text": "In this century the writer has carried on a conversation with madness. We might almost say of the twentieth-century writer that he aspires to madness. Some have made it, of course, and they hold special places in our regard. To a writer, madness is a final distillation of self, a final editing down. It's the drowning out of false voices.",
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      "text": "The writer must define his audience by its abilities, by its perfections, so far as he is gifted to conceive them. He does well, if he cannot see his right audience within immediate reach of his voice, to direct his words to his spiritual ancestors, or to posterity, or even, if need be, to a coterie. The writer serves his daemon and his subject. And the democracy that does not know that the daemon and the subject must be served is not, in any ideal sense of the word, a democracy at all.",
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      "text": "This paper will serve instead of a confidential friend into whose ear I might pour forth the overflowings of my heart. It will not sympathise with my distresses, but then it will not laugh at them, and, if I keep it close, it cannot tell again; so it is, perhaps, the best friend I could have for the purpose.",
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      "text": "Discipline and abstraction of putting my life into words, every day, helped me to cope with shame and its first cousin, despair. - Lin",
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      "text": "Even after the only person whose opinion I cared about left on a boat for America, I continued to fill pages with her name.",
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      "text": "When I got older I decided I wanted to be a real writer. I tried to write about real things. I wanted to describe the world, because to live in an undescribed world was too lonely.",
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      "text": "“How is the book going?” I asked returning to my knitting.\n\n“The self-help stuff?”\n\n“The magnum opus.”\n\nLanden looked thoughtful for a moment and then said, “More opus than magnum. I’m trying to figure out whether the lack of progress is writer’s block, procrastination, idleness or just plain incompetence.”",
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      "text": "What is exaggeration to one class of minds and perceptions, is plain truth to another. That which is commonly called a long–sight, perceives in a prospect innumerable features and bearings non–existent to a short–sighted person. I sometimes ask myself whether there may occasionally be a difference of this kind between some writers and some readers; whether it is ALWAYS the writer who colours highly, or whether it is now and then the reader whose eye for colour is a little dull?",
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      "text": "I have stolen ideas from every book I have ever read. My principle in researching a novel is 'Read like a butterfly, write like a bee', and if this story contains any honey, it is entirely because of the quality of the nectar I found in the work of better writers.",
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      "text": "When you are lonely, writing can keep you company. It is a form of self-compensation, a way of making up for things—as opposed to making things up—that did not quite happen. (p.11).",
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      "text": "You may well ask why I write. And yet my reasons are quite many. For it is not unusual in human beings who have witnessed the sack of a city or the falling to pieces of a people to set down what they have witnessed for the benefit of unknown heirs or of generations infinitely remote; or, if you please, just to get the sight out of their heads.",
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      "url": "https://www.leafyquotes.com/madeleine-lengle/penguins-and-golden-calves/i-have-advice",
      "text": "I have advice for people who want to write. I don't care whether they're 5 or 500. There are three things that are important: First, if you want to write, you need to keep an honest, unpublishable journal that nobody reads, nobody but you. Where you just put down what you think about life, what you think about things, what you think is fair and what you think is unfair. And second, you need to read. You can't be a writer if you're not a reader. It's the great writers who teach us how to write. The third thing is to write. Just write a little bit every day. Even if it's for only half an hour — write, write, write.",
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      "text": "I wrote because I wanted to know what everything was about. My father, before I was born, had been gassed in the first World War, and I wanted to know why there were wars, why people hurt each other, why we couldn't get along together, and what made people tick. That's why I started to write stories.",
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      "text": "The truth of a story is what the novelist strives for, and quite often the writer is taken down strange and unexpected paths on this search.",
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      "text": "‘Why?’ My mother’s question hangs in the still air of memory. The loneliness I have felt many mornings, however, has not made me forget that I am engaged in a highly public activity. I sit here in silence writing this small volume of words, and it seems to me the most public thing I ever have done. My mother’s letter has served to remind me: I am making my personal life public. Probably I will never try to explain my motives to my mother and father. My mother’s question will go unanswered to her face.",
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      "text": "Somehow the inclination to write about my private life in public is related to the ability to do so. It is not enough to say that my mother and father do not want to write their autobiographies. It needs also to be said that they are unable to write to a public reader. They lack the skill. Though both of them can write in Spanish and English, they write in a hesitant manner. Their syntax is uncertain. Their vocabulary limited. The man who sits in his chair so many hours, and the woman at the ironing board—‘keeping busy because I don’t want to get old’—will never be able to believe that any description of their personal lives could be understood by a stranger far from home.",
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      "text": "I write about race in America in hopes of undermining the notion of race in America.",
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      "text": "Novelists should never allow themselves to weary of the study of real life.",
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      "text": "I describe imperfect characters. Every character in this book will be found to be more or less imperfect, my pen refusing to draw anything in the model line.",
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      "text": "Life is boring. I have experiences now only when I am writing.",
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      "text": "The possibility of the impossible, dreams and illusions, are the subject of my novels.",
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      "text": "Perhaps it is the language that chooses the writers it needs, making use of them so that each might express a tiny part of what it is.",
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      "text": "Do not be too quick to judge the makers of worlds. Will you ever write a story for which no character will have caused to reproach you?",
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      "text": "But, at the moment, the urge to write was not upon him. He shook his head and grimaced wryly. As a veteran newspaper man, he knew you wrote when you had to write, not when the Muse sprinkled fairy dust in your hair and tapped you with a magic wand.",
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      "text": "I am a great foe of favoritism in public life, in private life, and even in the delicate relationship of an author to his works.",
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      "text": "Writing, when properly managed, (as you may be sure I think mine is) is but a different name for conversation.",
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      "text": "The official style is at once humble, polite, curt and disagreeable: it derives partly from that used in Byzantine times by the eunuch slave-secretariat, writing stiffly in the name of His Sacred Majesty, whose confidence they enjoyed, to their fellow-slaves outside the palace precincts — for the Emperor had summary power over everyone; and partly from the style used by the cleric-bureaucracy of the Middle Ages, writing stiffly in the name of the feudal lords to their serfs and, though cautious of offending their employers, protected from injury by being servants of the Church, not of the Crown, and so subject to canon, not feudal, law. The official style of civil servants, so far as it recalls its Byzantine derivation, is written by slaves to fellow-slaves of a fictitious tyrant; and, so far as it recalls its mediaeval derivation, is written by members of a quasi-ecclesiastical body, on behalf of quasi-feudal ministers (who, being politicians, come under a different code of behaviour from theirs) to a serflike public.",
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      "text": "The chief trouble with the official style is that it spreads far beyond the formal contexts to which it is suited. Most civil servants, having learned to write in this way, cannot throw off the habit. The obscurity of their public announcements largely accounts for the disrepute into which Departmental activities have fallen: for the public naturally supposes that Departments are as muddled and stodgy as their announcements.\n\nThe habit of obscurity is partly caused by a settled disinclination among public servants to give a definite refusal even where assent is out of the question; or to convey a vigorous rebuke even where, in private correspondence, any person with self-respect would feel bound to do so. The mood is conveyed by a polite and emasculated style — polite because, when writing to a member of the public, the public servant is, in theory at least, addressing one of his collective employers; emasculated because, as a cog in the Government machine, he must make his phrases look as mechanical as possible by stripping them of all personal feeling and opinion.",
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      "text": "Where is good English to be found? Not among those who might be expected to write well professionally. Schoolmasters seldom write well: it is difficult for any teacher to avoid either pomposity or, in the effort not to be pompous, a jocular conversational looseness. The clergy suffer from much the same occupational disability: they can seldom decide whether to use \"the language of the market-place\" or Biblical rhetoric. Men of letters usually feel impelled to cultivate an individual style — less because they feel sure of themselves as individuals than because they wish to carve a niche for themselves in literature; and nowadays an individual style usually means merely a peculiar range of inaccuracies, ambiguities, logical weaknesses and stylistic extravagancies. Trained journalists use a flat, over-simplified style, based on a study of what sells a paper and what does not, which is inadequate for most literary purposes.",
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      "text": "It is dangerous these days for a male to write even glancingly on feminist themes. Did anyone attack Margaret Atwood’s right to extrapolate religio-machismo in The Handmaid’s Tale? Women writers appear vouchsafed insight into the souls of men—credit that seldom flows the other way. It is a sexist and offensive assumption, which does not advance understanding.",
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      "text": "There is a similarity between juggling and composing on the typewriter. The trick is, when you spill something, make it look like a part of the act.",
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      "text": "Someone watches over us when we write. Mother. Teacher. Shakespeare. God.",
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      "text": "I think it was Montherlant who said that happiness writes white: it doesn't show up on the page.",
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      "text": "All I can do is turn a phrase until it catches the light. There was a time when I got hot under the collar if the critics said I had nothing new to say. Now I realise that they had a point. My field is the self-evident. Everything I say is obvious, although I like to think that some of the obvious things I have said were not so obvious until I said them.",
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      "text": "“As far as I have had opportunity of judging, it appears to be that the usual style of letter-writing among women is faultless, except in three particulars.”\n\n“And what are they?”\n\n“A general deficiency of subject, a total inattention to stops, and a very frequent ignorance of grammar.” p. 52, 2013",
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      "slug": "the-best-thing",
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      "text": "The best thing fishing taught me, I think was how to be alone. Without this ability no writer can really survive or work, and there is a strong relationship between the activity of the fisherman, letting his line down into unknown depths in the hope of catching an unseen prey (which may be worth keeping, or may not) and that of a writer trolling his memory and reflections for unexpected jags and jerks of association.",
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        "name": "Robert Hughes",
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      "slug": "no-one-can",
      "url": "https://www.leafyquotes.com/paulo-coelho/aleph/no-one-can",
      "text": "“No one can learn to love by following a manual, and no one can learn to write by following a course. I’m not telling you to seek out other writers but to find people with different skills from yourself, because writing is no different from any other activity done with joy and enthusiasm”.",
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        "name": "Paulo Coelho",
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      "url": "https://www.leafyquotes.com/william-makepeace-thackeray/the-history-of-henry-esmond/there-are-a-thousand",
      "text": "There are a thousand thoughts lying within a man that he does not know till he takes up the pen to write.",
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      "author": {
        "name": "William Makepeace Thackeray",
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        "title": "The History of Henry Esmond",
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      "id": "deeb1609-1096-4761-8062-8ae164af0330",
      "slug": "people-have-got",
      "url": "https://www.leafyquotes.com/george-gissing/new-grub-street/people-have-got",
      "text": "People have got that ancient prejudice so firmly rooted in their heads — that one mustn't write save at I the dictation of the Holy Spirit. I tell you, writing is a business.",
      "language": "en",
      "author": {
        "name": "George Gissing",
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        "url": "https://www.leafyquotes.com/george-gissing"
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        "title": "New Grub Street",
        "slug": "new-grub-street",
        "url": "https://www.leafyquotes.com/george-gissing/new-grub-street"
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          "url": "https://www.leafyquotes.com/topics/inspiration"
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      ],
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        "url": "https://en.wikiquote.org/wiki/George_Gissing#New_Grub_Street:_A_Novel_(1891)",
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    {
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      "slug": "to-have-nothing",
      "url": "https://www.leafyquotes.com/wallace-stevens/opus-posthumous/to-have-nothing",
      "text": "To have nothing to say and to say it in a tragic manner is not the same thing as having something to say.",
      "language": "en",
      "author": {
        "name": "Wallace Stevens",
        "slug": "wallace-stevens",
        "url": "https://www.leafyquotes.com/wallace-stevens"
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      "book": {
        "title": "Opus Posthumous",
        "slug": "opus-posthumous",
        "url": "https://www.leafyquotes.com/wallace-stevens/opus-posthumous"
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      "slug": "no-author-without",
      "url": "https://www.leafyquotes.com/nathaniel-hawthorne/the-marble-faun/no-author-without",
      "text": "No author, without a trial, can conceive of the difficulty of writing a romance about a country where there is no shadow, no antiquity, no mystery, no picturesque and gloomy wrong, nor anything but a commonplace prosperity, in broad and simple daylight, as is happily the case with my dear native land. It will be very long, I trust, before romance writers may find congenial and easily handled themes, either in the annals of our stalwart republic, or in any characteristic and probable events of our individual lives. Romance and poetry, ivy, lichens and wallflowers need ruin to make them grow.",
      "language": "en",
      "author": {
        "name": "Nathaniel Hawthorne",
        "slug": "nathaniel-hawthorne",
        "url": "https://www.leafyquotes.com/nathaniel-hawthorne"
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      "book": {
        "title": "The Marble Faun",
        "slug": "the-marble-faun",
        "url": "https://www.leafyquotes.com/nathaniel-hawthorne/the-marble-faun"
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          "name": "writing",
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        {
          "name": "America",
          "slug": "america",
          "url": "https://www.leafyquotes.com/topics/america"
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      ],
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        "name": "Wikiquote",
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      "text": "The problem, if anything, was precisely the opposite. I had too much to write: too many fine and miserable buildings to construct and streets to name and clock towers to set chiming, too many characters to raise up from the dirt like flowers whose petals I peeled down to the intricate frail organs within, too many terrible genetic and fiduciary secrets to dig up and bury and dig up again, too many divorces to grant, heirs to disinherit, trysts to arrange, letters to misdirect into evil hands, innocent children to slay with rheumatic fever, women to leave unfulfilled and hopeless, men to drive to adultery and theft, fires to ignite at the hearts of ancient houses.",
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      "text": "He had no wish to obliterate anything he had written, but he would dearly have liked to revise it, envying painters, who are allowed to return to the same theme time and time again, clarifying and enriching until they have done all they can with it. A novelist is condemned to provide a succession of novelties, new names for characters, new incidents for his plots, new scenery; but, Mr Pinfold maintained, most men harbour the germs of one or two books only; all else is professional trickery of which the most daemonic of the masters — Dickens and Balzac even — were flagrantly guilty.",
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      "text": "The first act of insight is throw away the labels. In fiction, while we do not necessarily write about ourselves, we write out of ourselves, using ourselves; what we learn from, what we are sensitive to, what we feel strongly about--these become our characters and go to make our plots. Characters in fiction are conceived from within, and they have, accordingly, their own interior life; they are individuals every time.",
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      "text": "Since we must and do write each our own way, we may during actual writing get more lasting instruction not from another's work, whatever its blessings, however better it is than ours, but from our own poor scratched-over pages. For these we can hold up to life. That is, we are born with a mind and heart to hold each page up to, and to ask: is it valid? (\"Words Into Fiction\")",
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      "text": "I think the reason I choose the comic approach so often is because it's harder, therefore affording me the opportunity to show off. Also, a comic vision is my natural world view, but I've grown up in spite of myself and I can pass the comic twist if it detracts from what the characters need. Yes, the life of a saint is hard.",
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      "text": "I love people. Everybody. I love them, I think, as a stamp collector loves his collection. Every story, every incident, every bit of conversation is raw material for me. My love's not impersonal yet not wholly subjective either. I would like to be everyone, a cripple, a dying man, a whore, and then come back to write about my thoughts, my emotions, as that person. But I am not omniscient. I have to live my life, and it is the only one I'll ever have. And you cannot regard your own life with objective curiosity all the time.",
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      "text": "The only way you can write the truth is to assume that what you set down will never be read. Not by any other person, and not even by yourself at some later date. Otherwise you begin excusing yourself. You must see the writing as emerging like a long scroll of ink from the index finger of your right hand; you must see your left hand erasing it.",
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      "text": "The \"medium is the message\" is one of the world's silliest remarks. The message is the message, and it doesn't matter whether you send it by e-mail, a note in a bottle or on a picture postcard. The book, or the poem, or the play is what counts and it doesn't matter if it's written with a pen on a long sheet of ruled paper, as I am writing now, or on the most highly developed word processor. No machine can help with the rhythms of your prose, even if it can spell better than you can.",
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      "text": "There are, it seems, two Muses: the Muse of Inspiration, who gives us inarticulate visions and desires, and the Muse of Realization, who returns again and again to say, “It is yet more difficult than you thought.” This is the muse of form. The first muse is the one mainly listened to in a cheap-energy civilization, in which “economic health” depends on the assumption that everything desirable lies within easy reach of anyone. To hear the second muse one must move outside the cheap-energy enclosure. It is the willingness to hear the second muse that keeps us cheerful in our work. To hear only the first is to live in the bitterness of disappointment.",
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      "text": "Tormented by the cursed ambition always to put a whole book in a page, a whole page in a sentence, and this sentence in a word. I am speaking of myself.",
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      "text": "And perhaps there is no advice to give a writer more important than this: — Never write anything that does not give you great pleasure.",
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      "text": "Dedication: To my daughter Leonora without whose never-failing sympathy and encouragement this book would have been finished in half the time.",
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      "text": "“Who is this Hemingway person at all?”\n\n“A guy that keeps saying the same thing over and over until you begin to believe it must be good.”\n\n“That must take a hell of a long time,” the big man said.",
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      "text": "Events of the past two years have virtually decreed that I shall wrestle with the literary muse for the rest of my days. And so, having tasted the poverty of one end of the scale, I have no choice but to direct my energies toward the acquisition of fame and fortune. Frankly, I have no taste for either poverty or honest labor, so writing is the only recourse left me.",
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      "text": "I have become an enthusiast for the printed word again. I have to be that, I now understand, because I want to be a character in all of my works. I can do that in print. In a movie, somehow, the author always vanishes. Everything of mine which has been filmed so far has been one character short, and that character is me.",
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      "text": "“I always play with everybody,” said Honoré. “It is my vocation. God put me on the earth to do with people what cats do to mice. Play with them, chew the last bit of life out of them, them pick them up in my mouth and drop them on people’s doorsteps. That is the business of literature.”",
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      "text": "Writing ought either to be the manufacture of stories for which there is a market demand — a business as safe and commendable as making soap or breakfast foods — or it should be an art, which is always a search for something for which there is no market demand, something new and untried, where the values are intrinsic and have nothing to do with standardized values.",
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      "text": "The higher processes are all processes of simplification. The novelist must learn to write, and then he must unlearn it; just as the modern painter learns to draw, and then learns when utterly to disregard his accomplishment, when to subordinate it to a higher and truer effect.",
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      "text": "To note an artist's limitations is but to define his talent. A reporter can write equally well about everything that is presented to his view, but a creative writer can do his best only with what lies within the range and character of his deepest sympathies.",
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      "text": "The \"sayings\" of a community, its proverbs, are its characteristic comment upon life; they imply its history, suggest its attitude toward the world and its way of accepting life. Such an idiom makes the finest language any writer can have; and he can never get it with a notebook. He himself must be able to think and feel in that speech — it is a gift from heart to heart.",
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      "text": "There is a popular superstition that \"realism\" asserts itself in the cataloguing of a great number of material objects, in explaining mechanical processes, the methods of operating manufactories and trades, and in minutely and unsparingly describing physical sensations. But is not realism, more than it is anything else, an attitude of mind on the part of the writer toward his material, a vague indication of the sympathy and candour with which he accepts, rather than chooses, his theme?",
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      "text": "One might say that every fine story must leave in the mind of the sensitive reader an intangible residuum of pleasure; a cadence, a quality of voice that is exclusively the writer's own, individual, unique. A quality which one can remember without the volume at hand, can experience over and over again in the mind but can never absolutely define, as one can experience in memory a melody, or the summer perfume of a garden... It is a common fallacy that a writer, if he is talented enough, can achieve this poignant quality by improving upon his subject-matter, by using his \"imagination\" upon it and twisting it to suit his purpose. The truth is that by such a process (which is not imaginative at all!) he can at best produce only a brilliant sham, which, like a badly built and pretentious house, looks poor and shabby after a few years. If he achieves anything noble, anything enduring, it must be by giving himself absolutely to his material. And this gift of sympathy is his great gift; is the fine thing in him that alone can make his work fine.\n\nThe artist spends a lifetime in pursuing the things that haunt him, in having his mind \"teased\" by them, in trying to get these conceptions down on paper exactly as they are to him and not in conventional poses supposed to reveal their character; trying this method and that, as a painter tries different lightings and different attitudes with his subject to catch the one that presents it more suggestively than any other. And at the end of a lifetime he emerges with much that is more or less happy experimenting, and comparatively little that is the very flower of himself and his genius.",
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      "text": "The journalist researches a story. The novelist imagines it.\n\nWhat’s funny is, you’d be amazed at the amount of time a novelist has to spend with people in order to create this single lonely voice. This seemingly isolated world.\n\nIt’s hard to call any of my novels “fiction.”",
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      "text": "No one can advise or help you — no one. There is only one thing you should do. Go into yourself. Find out the reason that commands you to write; see whether it has spread its roots into the very depths of your heart; confess to yourself whether you would have to die if you were forbidden to write.",
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      "text": "With the passage of time, whatever a man had done, whether for good or evil, with the man's bodily organs, left the man's parish unaffected: only a man's thoughts and dreams could outlive him, in any serious sense, and these might survive with perhaps augmenting influence: so that Kennaston had come to think artistic creation in words — since marble and canvas inevitably perished — was the one, possibly, worth-while employment of human life. But here was a crude corporal deed which bluntly destroyed thoughts, and annihilated dreams by wholesale. To Kennaston this seemed the one real tragedy that could be staged on earth....",
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      "slug": "cheat-your-landlord",
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      "text": "Cheat your landlord if you can and must, but do not try to shortchange the Muse. It cannot be done. You can't fake quality any more than you can fake a good meal.",
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      "text": "There is only one thing a writer can write about: what is in front of his senses at the moment of writing... I am a recording instrument... I do not presume to impose \"story \"plot\" \"continuity\"... Insofar as I succeed in Direct recording of certain areas of psychic process I may have limited function... I am not an entertainer.",
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      "text": "In this world you either read or write, and writers write out of contempt for their colleagues, out of a desire to have something good to read once in a while.",
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      "text": "I'm writing this book because we're all going to die — In the loneliness of my life, my father dead, my brother dead, my mother far away, my sister and my wife far away, nothing here but my own tragic hands that once were guarded by a world, a sweet attention, that now are left to guide and disappear their own way into the common dark of all our death, sleeping in me raw bed, alone and stupid...",
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      "text": "Alec, to be able to read and write is as wonderful as sex. Or almost.",
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      "text": "A woman must have money and a room of her own if she is to write fiction.",
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      "text": "My belief is that if we live another century or so — I am talking of the common life which is the real life and not of the little separate lives which we live as individuals — and have five hundred a year each of us and rooms of our own; if we have the habit of freedom and the courage to write exactly what we think; if we escape a little from the common sitting-room and see human beings not always in their relation to each other but in relation to reality; and the sky, too, and the trees or whatever it may be in themselves; if we look past Milton's bogey, for no human being should shut out the view; if we face the fact, for it is a fact, that there is no arm to cling to, but that we go alone and that our relation is to the world of reality and not only to the world of men and women, then the opportunity will come and the dead poet who was Shakespeare's sister will put on the body which she has so often laid down. Drawing her life from the lives of the unknown who were her forerunners, as her brother did before her, she will be born. As for her coming without that preparation, without that effort on our part, without that determination that when she is born again she shall find it possible to live and write her poetry, that we cannot expect, for that would be impossible. But I maintain that she would come if we worked for her, and that so to work, even in poverty and obscurity, is worth while.",
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      "text": "Let us record the atoms as they fall upon the mind in the order in which they fall, let us trace the pattern, however disconnected and incoherent in appearance, which each sight or incident scores upon the consciousness.",
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      "text": "Examine for a moment an ordinary mind on an ordinary day. The mind receives a myriad impressions — trivial, fantastic, evanescent, or engraved with the sharpness of steel. From all sides they come, an incessant shower of innumerable atoms; and as they fall, as they shape themselves into the life of Monday or Tuesday, the accent falls differently from of old; the moment of importance came not here but there; so that, if a writer were a free man and not a slave, if he could write what he chose, not what he must, if he could base his work upon his own feeling and not upon convention, there would be no plot, no comedy, no tragedy, no love interest or catastrophe in the accepted style, and perhaps not a single button sewn on as the Bond Street tailors would have it. Life is not a series of gig-lamps symmetrically arranged; life is a luminous halo, a semi-transparent envelope surrounding us from the beginning of consciousness to the end. Is it not the task of the novelist to convey this varying, this unknown and uncircumscribed spirit, whatever aberration or complexity it may display, with as little mixture of the alien and external as possible? We are not pleading merely for courage and sincerity; we are suggesting that the proper stuff of fiction is a little other than custom would have us believe it.",
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      "text": "We think we write definitively of those parts of our nature that are dead and therefore beyond change, but that which writes is still changing — still in doubt. Even a monotonously undeviating path of self-examination does not necessarily lead to self-knowledge. I stumble towards my grave confused and hurt and hungry.",
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      "text": "Looking back on it, I realize I did the right thing instinctively. You don't write for success. That takes part of your attention away from the writing. If you're really doing it, that's all you're doing: writing.",
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      "text": "When I was writing Dune there was no room in my mind for concerns about the book's success or failure. I was concerned only with the writing. Six years of research had preceded the day I sat down to put the story together, and the interweaving of the many plot layers I had planned required a degree of concentration I had never before experienced.\n\nIt was to be a story exploring the myth of the Messiah.\n\nIt was to produce another view of a human-occupied planet as an energy machine.\n\nIt was to penetrate the interlocked workings of politics and economics.\n\nIt was to be an examination of absolute prediction and its pitfalls.\n\nIt was to have an awareness drug in it and tell what could happen through dependence on such a substance.\n\nPotable water was to be an analog for oil and for water itself, a substance whose supply diminishes each day.\n\nIt was to be an ecological novel, then, with many overtones, as well as a story about people and their human concerns with human values, and I had to monitor each of these levels at every stage in the book.\n\nThere wasn't room in my head to think about much else.",
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      "text": "There's an unwritten compact between you and the reader. If someone enters a bookstore and sets down hard earned money (energy) for your book, you owe that person some entertainment and as much more as you can give.",
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      "text": "One often hears of writers that rise and swell with their subject, though it may seem but an ordinary one. How, then, with me, writing of this Leviathan? Unconsciously my chirography expands into placard capitals. Give me a condor's quill! Give me Vesuvius' crater for an inkstand! Friends, hold my arms! For in the mere act of penning my thoughts of this Leviathan, they weary me, and make me faint with their outreaching comprehensiveness of sweep, as if to include the whole circle of the sciences, and all the generations of whales, and men, and mastodons, past, present, and to come, with all the revolving panoramas of empire on earth, and throughout the whole universe, not excluding its suburbs. Such, and so magnifying, is the virtue of a large and liberal theme! We expand to its bulk. To produce a mighty book, you must choose a mighty theme. No great and enduring volume can ever be written on the flea, though many there be who have tried it.",
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      "text": "Someone told me that each equation I included in the book would halve the sales. I therefore resolved not to have any equations at all. In the end, however, I did put in one equation, Einstein's famous equation, . I hope that this will not scare off half of my potential readers.",
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      "text": "The longer he practised his craft, the more conscious he became of the dynamic of language, of speech and writing as events in themselves. The simplest and most obvious proposition, stated in the most elementary language, could so mutate itself in the mind of the reader that it could express the opposite of what the writer had intended. What he wrote as evidence for the defence could hang the man he was defending.",
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      "text": "Paper, they say, does not blush, but I assure you it's not true and that it's blushing just as I am now, all over.",
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      "url": "https://www.leafyquotes.com/neil-gaiman/trigger-warning-short-fictions-and-disturbances/he-was-demonstrating",
      "text": "He was demonstrating to the world the writing was a craft, that it was not an act of magic.",
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      "slug": "another-old-fashioned-practice",
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      "text": "Another old-fashioned practice I maintain is carrying a notebook, a small one I keep in my shirt pocket and never leave the house without. In it I register all the little things that strike me, not in great detail but just quickly. The following morning I'll review what I jotted down and look for the most meaningful moment in the previous day, the one in which I felt truly present.\n\nIt's worth mentioning that this is my edit. It wasn't easy revisiting what are now 156 volumes of my diary.",
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      "url": "https://www.leafyquotes.com/david-sedaris/theft-by-finding/after-coming-home",
      "text": "After coming home, I listened to the radio and cleaned up a little. A woman on All Things Considered wrote a book of advice called If You Want to Write and mentioned the importance of keeping a diary. It was valuable, she said, because after a while you'd stop being forced and pretentious and become honest and unafraid of your thoughts.",
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      "text": "She's afraid to tell me anything important, knowing I'll only turn around and write about it. In my mind, I'm like a friendly junkman, building things from the little pieces of scrap I find here and there, but my family's started to see things differently. Their personal lives are the so-called pieces of scrap I so casually pick up, and they're sick of it. More and more often their stories begin with the line \"You have to swear you will never repeat this.\" I always promise, but it's generally understood that my word means nothing.",
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      "text": "Once we reject lyricism, to blacken a page becomes an ordeal: what's the use of writing in order to say exactly what we had to say?",
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      "text": "Ts'ui Pe must have said once: I am withdrawing to write a book. And another time: I am withdrawing to construct a labyrinth. Every one imagined two works; to no one did it occur that the book and the maze were one and the same thing.",
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      "text": "Of all types of human being, only the artist takes it upon himself to say that he 'cannot' work. But it is quite true; there ARE times when one cannot work. Money again, always money! Lack of money means discomfort, means squalid worries, means shortage of tobacco, means ever-present consciousness of failure - above all, it means loneliness. How can you be anything but lonely on two quid a week? And in loneliness no decent book was ever written.",
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      "text": "Then I started to think in Lipp's about when I had first been able to write a story about losing everything. It was up in Cortina d'Ampezzo when I had come back to join Hadley there after the spring skiing which I had to interrupt to go on assignment to Rhineland and the Ruhr. It was a very simple story called \"Out of Season\" and I had omitted the real end of it which was that the old man hanged himself. This was omitted on my new theory that you could omit anything if you knew that you omitted and the omitted part would strengthen the story and make people feel something more than they understood.",
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      "text": "If a writer of prose knows enough about what he is writing about he may omit things that he knows, and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an iceberg is due to only one-eighth of it being above water. A writer who omits things only because he does not know them only makes hollow places in his writing.",
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      "text": "A man does not talk to himself quite truly — not even to himself: the happiness or misery that he secretly feels proceeds from causes that he cannot quite explain, because as soon as he raises them to the level of the explicable they lose their native quality. The novelist has a real pull here. He can show the subconscious short-circuiting straight into action (the dramatist can do this too); he can also show it in its relation to soliloquy. He commands all the secret life, and he must not be robbed of this privilege. \"How did the writer know that?\" it is sometimes said. \"What's his standpoint? He is not being consistent, he's shifting his point of view from the limited to the omniscient, and now he's edging back again.\" Questions like this have too much the atmosphere of the law courts about them.",
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      "text": "\"My ideas flow so rapidly that I have not time to express theml by which means my letters sometimes convey no ideas at all to my correspondents.\"",
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      "text": "I have one word to say upon the subject of profound writers, who are grown very numerous of late; and I know very well the judicious world is resolved to list me in that number. I conceive therefore, as to the business of being profound, that it is with writers as with wells - a person with good eyes may see to the bottom of the deepest, provided any water be there: and often when there is nothing in the world at the bottom besides dryness and dirt, though it be but a yard and a-half under-ground, it shall pass, however, for wondrous deep upon no wiser reason than because it is wondrous dark",
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      "text": "There are certain common privileges of a writer, the benefit whereof, I hope, there will be no reason to doubt; particularly, that where I am not understood, it shall be concluded, that something very useful and profound is couched underneath; and again, that whatever word or sentence is printed in a different character, shall be judged to contain something extraordinary either of wit or sublime.",
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      "text": "O thou who art able to write a Book, which once in the two centuries or oftener there is a man gifted to do, envy not him whom they name City-builder, and inexpressibly pity him whom they name Conqueror or City-burner! Thou too art a Conqueror and Victor; but of the true sort, namely over the Devil: thou too hast built what will outlast all marble and metal, and be a wonder-bringing City of the Mind, a Temple and Seminary and Prophetic Mount, whereto all kindreds of the Earth will pilgrim.",
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      "text": "The men who have really been the bold artists, the realistic artists, the uncompromising artists, are the men who have turned out, after all, to be writing \"with a purpose.\"",
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      "text": "It is in this way that all my books have been composed. They were always written at least twice over; a first draft of the entire work was completed to the very end of the subject, then the whole begun again de novo; but incorporating, in the second writing, all sentences and parts of sentences of the old draft, which appeared as suitable to my purpose as anything which I could write in lieu of them. I have found great advantages in this system of double redaction. It combines, better than any other mode of composition, the freshness and vigour of the first conception, with the superior precision and completeness resulting from prolonged thought. In my own case, moreover, I have found that the patience necessary for a careful elaboration of the details of composition and expression, costs much less effort after the entire subject has been once gone through, and the substance of all that I find to say has in some manner, however imperfect, been got upon paper.",
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      "text": "Mere newspaper articles on the occurrences or questions of the moment, gave no opportunity for the development of any general mode of thought; but I attempted, in the beginning of 1831, to embody in a series of articles, headed \"The Spirit of the Age,\" some of my new opinions, and especially to point out in the character of the present age, the anomalies and evils characteristic of the transition from a system of opinions which had worn out, to another only in process of being formed. These articles were, I fancy, lumbering in style, and not lively or striking enough to be at any time, acceptable to newspaper readers; but had they been far more attractive, still, at that particular moment, when great political changes were impending, and engrossing all minds, these discussions were ill-timed, and missed fire altogether. The only effect which I know to have been produced by them, was that Carlyle, then living in a secluded part of Scotland, read them in his solitude, and saying to himself (as he afterwards told me) \"here is a new Mystic,\" inquired on coming to London that autumn respecting their authorship; an inquiry which was the immediate cause of our becoming personally acquainted.",
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      "text": "Writing a book for the Follies seems to be about as profitable an occupation as furnishing flannel petticoats for the showgirls. p. 151",
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      "text": "What I do now is think of a problem and a resolution to that problem. I then begin the story, making it up as I go along, having all the excitement of finding out what will happen to the characters and how they will get out of their scrapes, but working steadily toward the known resolution, so that I don’t get lost en route.\n\nWhen I asked for advice for beginners, I always stress that. Know your ending, I say, or the river of your story may finally sink into the desert sands and never reach the sea.",
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      "text": "It is not very difficult to write for teenagers if you avoid thinking of them as children. I do not simplify my vocabulary for them, though I often add the pronunciations of the technical terms, merely to reduce the terror they inspire visually. I do avoid sentences that are too long and complex and I do not indulge in obscure illusions. What is lacking in a teenager is not intelligence or reasoning ability, but merely experience.",
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      "text": "The novels I have been writing lately are the kind I wrote in the 1950s. (I have been criticized for this by some critics, but the day I pay attention to critics is the day the sky will fall.)",
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      "text": "In writing a science fiction novel, you must invent a futuristic social structure which is complex enough to be interesting in itself apart from the story and which is self-consistent. You must also invent a plot that works only within that social structure. The plot must develop without unduly obscuring the description of the social structure, and the social structure must be described without unduly slowing the plot.\n\nMaking a science fiction novel fulfill this double purpose is difficult even for an experienced and talented old hand such as myself. Every other kind of writing is easier than science fiction.",
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      "text": "A character is never the author who created him. It is quite likely, however, that an author may be all his characters simultaneously.",
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      "text": "Many of my friends are under the impression that I write these humorous nothings in idle moments when the wearied brain is unable to perform the serious labours of the economist. My own experience is exactly the other way. The writing of solid, instructive stuff fortified by facts and figures is easy enough. There is no trouble in writing a scientific treatise on the folk-lore of Central China, or a statistical enquiry into the declining population of Prince Edward Island. But to write something out of one's own mind, worth reading for its own sake, is an arduous contrivance only to be achieved in fortunate moments, few and far between. Personally, I would sooner have written \"Alice in Wonderland\" than the whole Encyclopaedia Britannica.",
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      "text": "Of course, Pupkin would never have thought of considering himself on an intellectual par with Mallory Tompkins. That would have been ridiculous. Mallory Tompkins had read all sorts of things and had half a mind to write a novel himself—either that or a play. All he needed, he said, was to have a chance to get away somewhere by himself and think. Every time he went away to the city Pupkin expected that he might return with the novel all finished; but though he often came back with his eyes red from thinking, the novel as yet remained incomplete.",
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      "text": "When one writes a novel about grown people, he knows exactly where to stop—that is, with a marriage; but when he writes of juveniles, he must stop where he best can.",
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      "url": "https://www.leafyquotes.com/dave-barry/ill-mature-when-im-dead/i-have-over",
      "text": "I have, over the years, received in the mail approximately 17 million manuscripts from people whose goal is to become professional writers. They want me to discover them, encourage them, mentor them, find them an agent, etc. Some of these people have talent; some of them have actually become professional writers. But a great many of them will never become professional writers, because- follow me closely here- they are not good at writing. Of course I don't tell them that. Probably nobody will ever tell them that. They will continue to try and fail, and in the end they'll be bitter, like the early-round contestants on American Idol who think they got booted because Simon Cowell is mean, rather than because their singing sounds like a bull being castrated with a hockey stick. These contestants humiliated themselves on national TV because when they were growing up, loving to sing, always singing around the house, no thoughtful family member or caring friend ever had the kindness to put a hand on their shoulder and say, in a gentle and loving voice, \"You suck.\" They needed Simon Cowells, but instead they were surrounded by Randy Jacksons and Paula Abduls, trying to be nice, not wanting to hurt their feelings, and thus setting them up for failure.",
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