Eudora Welty Quotes About Writing
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It had been startling and disappointing to me to find out that story books had been written by people, that books were not natural wonders, coming of themselves like grass.
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I'm not very eloquent about things like this, but I think that writing and photography go together. I don't mean that they are related arts, because they're not. But the person doing it, I think, learns from both things about accuracy of the eye, about observation, and about sympathy toward what is in front of you... It's about honesty, or truth telling, and a way to find it in yourself, how to need it and learn from it.
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What I do in the writing of any character is to try to enter into the mind, heart and skin of a human being who is not myself. It is the act of a writer's imagination that I set the most high.
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I think that as you learn more about writing you learn to be direct.
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Every story teaches me how to write it. Unfortunately, it doesn't teach me how to write the next one.
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Writing is an expression of the writer's own peculiar personality, could not help being so. Yet in reading great works one feels that the finished piece transcends the personal. All writers great and small must sometimes have felt that they have become part of what they wrote even more than it still remains a part of them.
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Once you're into a story everything seems to apply-what you overhear on a city bus is exactly what your character would say on the page you're writing. Wherever you go, you meet part of your story.
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The writing of a novel is taking life as it already exists, not to report it but to make an object, toward the end that the finished work might contain this life inside it and offer it to the reader. The essence will not be, of course, the same thing as the raw material; it is not even of the same family of things. The novel is something that never was before and will not be again.
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Dialogue has to show not only something about the speaker that is its own revelation, but also maybe something about the speaker that he doesn't know but the other character does know.
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To write honestly and with all our powers is the least we can do, and the most.
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No art ever came out of not risking your neck.
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There's still a strange moment with every book when I move from the position of writer to the position of reader and I suddenly see my words with the eyes of the cold public. It gives me a terrible sense of exposure, as if I'd gotten sunburned.
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Every story teaches you how to write that story but not the next story.
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No blur of inexactness, no cloud of vagueness, is allowable in good writing; from the first seeing to the last putting down, there must be steady lucidity and uncompromise of purpose.
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Writing fiction has developed in me an abiding respect for the unknown in a human lifetime and a sense of where to look for the threads, how to follow, how to connect, find in the thick of the tangle what clear line persists.
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Both reading and writing are experiences--lifelong-- in the course of which we who encounter words used in certain ways are persuaded by them to be brought mind and heart within the presence, the power, of the imagination.
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Daydreaming had started me on the way; but story writing once I was truly in its grip, took me and shook me awake.
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Fiction shows us the past as well as the present moment in mortal light; it is an art served by the indelibility of our memory, and one empowered by a sharp and prophetic awareness of what is ephemeral. It is by the ephemeral that our feeling is so strongly aroused for what endures.
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Each story tells me how to write it, but not the one afterwards.
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Writing a story or a novel is one way of discovering sequence in experience, of stumbling upon cause and effect in the happenings of a writer's own life.
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To imagine yourself inside another person...is what a story writer does in every piece of work; it is his first step, and his last too, I suppose.
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The challenge to writers today, I think, is not to disown any part of our heritage. Whatever our theme in writing, it is old and tried. Whatever our place, it has been visited by the stranger, it will never be new again. It is only the vision that can be new; but that is enough.
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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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Characters take on life sometimes by luck, but I suspect it is when you can write more entirely out of yourself, inside the skin, heart, mind, and soul of a person who is not yourself, that a character becomes in his own right another human being on the page.
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My own words, when I am at work on a story, I hear too as they go, in the same voice that I hear when I read in books. When I write and the sound of it comes back to my ears, then I act to make changes. I have always trusted this voice.
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When I read, I hear what's on the page. I don't know whose voice it is, but some voice is reading to me, and when I write my own stories, I hear it, too.
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At the time of writing, I don't write for my friends or myself either; I write for it, for the pleasure of it.
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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?
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What we know about writing the novel is the novel.
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Indeed, learning to write may be part of learning to read. For all I know, writing comes out of a superior devotion to reading.
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