Quotes about writing

A woman must have money and a room of her own if she is to write fiction.

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.

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.

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.

An autobiography is obituary in serial form with the last installment missing.

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.

No writing has any real value which is not the expression of genuine thought and feeling. (20 December 1939)

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.

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.

It was to be a story exploring the myth of the Messiah.

It was to produce another view of a human-occupied planet as an energy machine.

It was to penetrate the interlocked workings of politics and economics.

It was to be an examination of absolute prediction and its pitfalls.

It was to have an awareness drug in it and tell what could happen through dependence on such a substance.

Potable water was to be an analog for oil and for water itself, a substance whose supply diminishes each day.

It 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.

There wasn't room in my head to think about much else.

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.

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.

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.