Memoir Writing Quotes

Books are a uniquely portable magic.

The road to hell is paved with adverbs.

The scariest moment is always just before you start.

you can, you should, and if you’re brave enough to start, you will.

They who can give up essential liberty to obtain a little temporary safety deserve neither liberty nor safety.

Description begins in the writer’s imagination, but should finish in the reader’s.

Amateurs sit and wait for inspiration, the rest of us just get up and go to work.

Write with the door closed, rewrite with the door open.

Writing isn't about making money, getting famous, getting dates, getting laid, or making friends. In the end, it's about enriching the lives of those who will read your work, and enriching your own life, as well. It's about getting up, getting well, and getting over. Getting happy, okay? Getting happy.

Kill your darlings, kill your darlings, even when it breaks your egocentric little scribbler’s heart, kill your darlings.

In many cases when a reader puts a story aside because it 'got boring,' the boredom arose because the writer grew enchanted with his powers of description and lost sight of his priority, which is to keep the ball rolling.

Writing is not life, but I think that sometimes it can be a way back to life.

If you want to be a writer, you must do two things above all others: read a lot and write a lot. There's no way around these two things that I'm aware of, no shortcut.

Just remember that Dumbo didn't need the feather; the magic was in him.

You cannot hope to sweep someone else away by the force of your writing until it has been done to you.

If you expect to succeed as a writer, rudeness should be the second-to-least of your concerns. The least of all should be polite society and what it expects. If you intend to write as truthfully as you can, your days as a member of polite society are numbered, anyway.

Words create sentences; sentences create paragraphs; sometimes paragraphs quicken and begin to breathe.

Your job isn't to find these ideas but to recognize them when they show up.

To write is human, to edit is divine.

I'm a slow reader, but I usually get through seventy or eighty books a year, most fiction. I don't read in order to study the craft; I read because I like to read

Writing is a lonely job. Having someone who believes in you makes a lot if difference. They don't have to makes speeches. Just believing is usually enough.

Reading in bed can be heaven, assuming you can get just the right amount of light on the page and aren't prone to spilling your coffee or cognac on the sheets.

It starts with this: put your desk in the corner, and every time you sit down there to write, remind yourself why it isn't in the middle of the room. Life isn't a support system for art. It's the other way around.

So okay― there you are in your room with the shade down and the door shut and the plug pulled out of the base of the telephone. You've blown up your TV and committed yourself to a thousand words a day, come hell or high water. Now comes the big question: What are you going to write about? And the equally big answer: Anything you damn well want.

The most important things to remember about back story are that (a) everyone has a history and (b) most of it isn’t very interesting.

History is written by the victors, but it's victims who write the memoirs.

If you intend to write as truthfully as you can, your days as a member of polite society are numbered.

Fool me once, shame on you. Fool me twice, shame on me. Fool me three times, shame on both of us.

When you write a book, you spend day after day scanning and identifying the trees. When you’re done, you have to step back and look at the forest.

I think the best stories always end up being about the people rather than the event, which is to say character-driven.

Writing is seduction. Good talk is part of seduction. If not so, why do so many couples who start the evening at dinner wind up in bed?

The scariest moment is always just before you start. After that, things can only get better.

I like to get ten pages a day, which amounts to 2,000 words. That’s 180,000 words over a three-month span, a goodish length for a book — something in which the reader can get happily lost, if the tale is done well and stays fresh.

I have spent a good many years since―too many, I think―being ashamed about what I write. I think I was forty before I realized that almost every writer of fiction or poetry who has ever published a line has been accused by someone of wasting his or her God-given talent. If you write (or paint or dance or sculpt or sing, I suppose), someone will try to make you feel lousy about it, that's all.

Bad writing is more than a matter of shit syntax and faulty observation; bad writing usually arises from a stubborn refusal to tell stories about what people actually do― to face the fact, let us say, that murderers sometimes help old ladies cross the street.

You know, everybody's ignorant, just on different subjects.

Can I be blunt on this subject? If you don't have time to read, you don't have the time (or the tools) to write. Simple as that.

Good description is a learned skill, one of the prime reasons why you cannot succeed unless you read a lot and write a lot. It’s not just a question of how-to, you see; it’s also a question of how much to. Reading will help you answer how much, and only reams of writing will help you with the how. You can learn only by doing.

Words have weight.

Let's get one thing clear right now, shall we? There is no Idea Dump, no Story Central, no Island of the Buried Bestsellers; good story ideas seem to come quite literally from nowhere, sailing at you right out of the empty sky: two previously unrelated ideas come together and make something new under the sun. Your job isn't to find these ideas but to recognize them when they show up.

Reading at meals is considered rude in polite society, but if you expect to succeed as a writer, rudeness should be the second-to-least of your concerns. The least of all should be polite society and what it expects.

If you're just starting out as a writer, you could do worse than strip your television's electric plug-wire, wrap a spike around it, and then stick it back into the wall. See what blows, and how far. Just an idea.

The more you read, the less apt you are to make a fool of yourself with your pen or word processor.

Sometimes you have to go on when you don't feel like it, and sometimes you're doing good work when it feels like all you're managing is to shovel shit from a sitting position.

A boy who once wiped his ass with poison ivy probably doesn't belong in a smart people's club.

Were I a Roman Catholic, perhaps I should on this occasion vow to build a chapel to some saint, but as I am not, if I were to vow at all, it should be to build a light-house. [Letter to his wife, 17 July 1757, after narrowly avoiding a shipwreck; often misquoted as "Lighthouses are more helpful than churches."]

Remember that you own what happened to you. If your childhood was less than ideal, you may have been raised thinking that if you told the truth about what really went on in your family, a long bony white finger would emerge from a cloud and point to you, while a chilling voice thundered, "We *told* you not to tell." But that was then. Just put down on paper everything you can remember now about your parents and siblings and relatives and neighbors, and we will deal with libel later on.

Let me say it again: You must not come lightly to the blank page.

It's hard for me to believe that people who read very little (or not at all in some cases) should presume to write and expect people to like what they have written.

All I ask is that you do as well as you can, and remember that, while to write adverbs is human, to write he said or she said is divine.

I now know, by an almost fatalistic conformity with the facts, that my destiny is to travel...

Almost everyone can remember losing his or her virginity, and most writers can remember the first book he/she put down thinking: I can do better than this. Hell, I am doing better than this! What could be more encouraging to the struggling writer than to realize his/her work is unquestionably better than that of someone who actually got paid for his/her stuff?

One of the really bad things you can do to your writing is to dress up the vocabulary, looking for long words because you're maybe a little bit ashamed of your short ones. This is like dressing up a household pet in evening clothes. The pet is embarrassed and the person who committed this act of premeditated cuteness should be even more embarrassed.

Optimism is a perfectly legitimate response to failure.

Reading is the creative center of a writer's life." -

But who has time to write memoirs? I’m still living my memoirs.

In the English language, it all comes down to this: Twenty-six letters, when combined correctly, can create magic. Twenty -six letters form the foundation of a free, informed society.

You can approach the act of writing with nervousness, excitement, hopefulness, or despair ... Come to it any way but lightly.

Love is the bee that carries the pollen from one heart to another.

I buried the girl I had been because she ran into all kinds of trouble. I tried to erase every memory of her, but she is still there, somewhere. She is still small and scared and ashamed, and perhaps I am writing my way back to her, trying to tell her everything she needs to hear.

Symbolism exists to adorn and enrich, not to create an artificial sense of profundity.

Read a lot, write a lot is the great commandment.

I don't know about you, but I'm kind of fed up with realism. After all, there's enough reality already; why make more of it? Why not leave realism for the memoirs of drug addicts, the histories of salt, the biographies of porn stars? Why must we continue to read about the travails of divorced people or mildly depressed Canadians when we could be contemplating the shopping habits of zombies, or the difficulties that ensue when living and dead people marry each other? We should be demanding more stories about faery handbags and pyjamas inscribed with the diaries of strange women. We should not rest until someone writes about a television show that features the Free People's World-Tree Library, with its elaborate waterfalls and Forbidden Books and Pirate-Magicians. We should be pining for a house haunted by rabbits. (from the review of Kelly Link's Magic for Beginners in The Guardian)

Writing isn't about making money, getting famous, getting dates, getting laid, or making friends. In the end it's about enriching the lives of those who will read your work, and enriching your own life as well. It's about getting up, getting well, and getting over. Getting happy, okay? Getting happy. ...this book...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.

I’m sure I could write endlessly about nothing. If only I had nothing to say.

When you write a story, you’re telling yourself the story,” he said. “When you rewrite, your main job is taking out all the things that are not the story.

By the time I was fourteen the nail in my wall would no longer support the weight of the rejection slips impaled upon it. I replaced the nail with a spike and went on writing.

It's best to have your tools with you. If you don't, you're apt to find something you didn't expect and get discouraged.

Someday," Magnus said, looking at the crumpled royal person at his feet, "I must write my memoirs.

I often say that reading and writing saved my life. I mean that quite literally.

Write about small, self-contained incidents that are still vivid in your memory. If you remember them, it's because they contain a larger truth that your readers will recognize in their own lives. Think small and you'll wind up finding the big themes in your family saga.

But it's writing, damn it, not washing the car or putting on eyeliner. If you can take it seriously, we can do business. If you can't or won't, it's time for you to close the book and do something else. Wash the car, maybe.

Why does everyone think a guy who prefers love to people is missing something in his life?

This is a short book because most books about writing are filled with bullshit.

I am, when you stop to think of it, a member of a fairly select group: the final handful of American novelists who learned to read and write before they learned to eat a daily helping of video bullshit.

I believe the road to hell is paved with adverbs, and I will shout it from the rooftops. To put it another way, they're like dandelions. If you have one on your lawn, it looks pretty and unique. If you fail to root it out, however, you find five the next day... fifty the day after that... and then, my brothers and sisters, your lawn is totally, completely, and profligately covered with dandelions. By then you see them for the weeds they really are, but by then it's—GASP!!—too late.

Madame Bellwings, Memoir Elf Coordinator, was not at all pleased with this request, because elves who write the memoirs of teenage girls have the habit of returning to the magical realm with atrocious grammar. They can't seem to shake the phrases "watever" and "no way," and they insert the word like into so many sentences that the other elves start slapping them...and for no apparent reason occasionally call out the name Edward Cullen.

Talent renders the whole idea of rehearsal meaningless; when you find something at which you are talented, you do it (whatever it is) until your fingers bleed or your eyes are ready to fall out of your head. Even when no one is listening (or reading or watching), every outing is a bravura performance, because you as the creator are happy. Perhaps even ecstatic.

They who would give up essential Liberty, to purchase a little temporary Safety, deserve neither Liberty nor Safety. —written for the Pennsylvania Assembly in its Reply to the Governor, 11 November 1755

Kizzy wanted to be a woman who would dive off the prow of a sailboat into the sea, who would fall back in a tangle of sheets, laughing, and who could dance a tango, lazily stroke a leopard with her bare foot, freeze an enemy's blood with her eyes, make promises she couldn't possibly keep, and then shift the world to keep them. She wanted to write memoirs and autograph them at a tiny bookshop in Rome, with a line of admirers snaking down a pink-lit alley. She wanted to make love on a balcony, ruin someone, trade in esoteric knowledge, watch strangers as coolly as a cat. She wanted to be inscrutable, have a drink named after her, a love song written for her, and a handsome adventurer's small airplane, champagne-christened Kizzy, which would vanish one day in a windstorm in Arabia so that she would have to mount a rescue operation involving camels, and wear an indigo veil against the stinging sand, just like the nomads. Kizzy wanted.

There is a muse, but he’s not going to come fluttering down into your writing room and scatter creative fairy-dust all over your typewriter or computer. He lives in the ground. He’s a basement kind of guy. You have to descend to his level, and once you get down there you have to furnish an apartment for him to live in. You have to do all the grunt labor, in other words, while the muse sits and smokes cigars and admires his bowling trophies and pretends to ignore you. Do you think it’s fair? I think it’s fair. He may not be much to look at, that muse-guy, and he may not be much of a conversationalist, but he’s got inspiration. It’s right that you should do all the work and burn all the mid-night oil, because the guy with the cigar and the little wings has got a bag of magic. There’s stuff in there that can change your life. Believe me, I know.

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.

Alcohol makes other people less tedious, and food less bland, and can help provide what the Greeks called entheos, or the slight buzz of inspiration when reading or writing. The only worthwhile miracle in the New Testament—the transmutation of water into wine during the wedding at Cana—is a tribute to the persistence of Hellenism in an otherwise austere Judaea. The same applies to the seder at Passover, which is obviously modeled on the Platonic symposium: questions are asked (especially of the young) while wine is circulated. No better form of sodality has ever been devised: at Oxford one was positively expected to take wine during tutorials. The tongue must be untied. It's not a coincidence that Omar Khayyam, rebuking and ridiculing the stone-faced Iranian mullahs of his time, pointed to the value of the grape as a mockery of their joyless and sterile regime. Visiting today's Iran, I was delighted to find that citizens made a point of defying the clerical ban on booze, keeping it in their homes for visitors even if they didn't particularly take to it themselves, and bootlegging it with great brio and ingenuity. These small revolutions affirm the human.

Writing is a lonely job. Even if a writer socializes regularly, when he gets down to the real business of his life, it is he and his type writer or word processor. No one else is or can be involved in the matter.

Do you think that Hemingway knew he was a writer at twenty years old? No, he did not. Or Fitzgerald, or Wolfe. This is a difficult concept to grasp. Hemingway didn't know he was Ernest Hemingway when he was a young man. Faulkner didn't know he was William Faulkner. But they had to take the first step. They had to call themselves writers. That is the first revolutionary act a writer has to make. It takes courage. But it's necessary

At the time we’re stuck in it, like hostages locked in a Turkish bath, high school seems the most serious business in the world to just about all of us. It’s not until the second or third class reunion that we start realizing how absurd the whole thing was.

I don't know where to start," one [writing student] will wail. Start with your childhood, I tell them. Plug your nose and jump in, and write down all your memories as truthfully as you can. Flannery O' Connor said that anyone who has survived childhood has enough material to write for the rest of his or her life. Maybe your childhood was grim and horrible, but grim and horrible is Okay if it is well done. Don't worry about doing it well yet, though. Just get it down.

I believe the first draft of a book — even a long one — should take no more than three months…Any longer and — for me, at least — the story begins to take on an odd foreign feel, like a dispatch from the Romanian Department of Public Affairs, or something broadcast on high-band shortwave duiring a period of severe sunspot activity.

Description is what makes the reader a sensory participant in the story. Good description is a learned skill,one of the prime reasons you cannot succeed unless you read a lot and write a lot. It's not just a question of how-to, you see; it's a question of how much to. Reading will help you answer how much, and only reams of writing will help you with the how. You can learn only by doing.

Autobiography is not important. Authenticity is important. The writer must fire herself through the text, be the molten stuff that welds together disparate elements. I believe there is always exposure, vulnerability, in the writing process, which is not to say it is either confessional or memoir. Simply, it is real.

There are millions of people out there who live this way, and their hearts are breaking just like mine. It’s okay to say, “My kid is a drug addict or alcoholic, and I still love them and I’m still proud of them.” Hold your head up and have a cappuccino. Take a trip. Hang your Christmas lights and hide colored eggs. Cry, laugh, then take a nap. And when we all get to the end of the road, I’m going to write a story that’s so happy it’s going to make your liver explode. It’s going to be a great day.

Don't wait for the muse. As I've said, he's a hardheaded guy who's not susceptible to a lot of creative fluttering. This isn't the Ouija board or the spirit-world we're talking about here, but just another job like laying pipe or driving long-haul trucks. Your job is to make sure the muse knows where you're going to be every day from nine 'til noon. or seven 'til three. If he does know, I assure you that sooner or later he'll start showing up.

When the Washington Post telephoned me at home on Valentine's Day 1989 to ask my opinion about the Ayatollah Khomeini's fatwah, I felt at once that here was something that completely committed me. It was, if I can phrase it like this, a matter of everything I hated versus everything I loved. In the hate column: dictatorship, religion, stupidity, demagogy, censorship, bullying, and intimidation. In the love column: literature, irony, humor, the individual, and the defense of free expression. Plus, of course, friendship—though I like to think that my reaction would have been the same if I hadn't known Salman at all. To re-state the premise of the argument again: the theocratic head of a foreign despotism offers money in his own name in order to suborn the murder of a civilian citizen of another country, for the offense of writing a work of fiction. No more root-and-branch challenge to the values of the Enlightenment (on the bicentennial of the fall of the Bastille) or to the First Amendment to the Constitution, could be imagined. President George H.W. Bush, when asked to comment, could only say grudgingly that, as far as he could see, no American interests were involved…

For the first three months, I place each student at a table with a thousand pieces of white paper and a trash can underneath. Every day they have to sit at the table for several hours and write ideas. They put the ideas they like on the right side of the table; the ones they don’t like, they put in the trash. But we don’t throw out the trash. After three months, I only take the ideas from the trash can. I don’t even look at the ideas they liked. Because the trash can is a treasure trove of things they’re afraid to do.

And what about those [writers' workshop] critiques, by the way? How valuable are they? Not very, in my experience, sorry. A lot of them are maddeningly vague. I love the feeling of Peter's story, someone may say. It had something... a sense of I don't know... there's a loving kind of you know... I can't exactly describe it.... It seems to occur to few of the attendees that if you have a feeling you just can't describe, you might just be, I don't know, kind of like, my sense of it is, maybe in the wrong fucking class.

Nobody would commit suicide if the pain of being inside herself, the agony of the sleepless, tortured hours spent watching the world get smaller and uglier, were bearable or could be relieved by other people telling her how they wanted her to feel. A depressed person is selfish because her self, the very core of who she is, will not leave her alone, and she can no more stop thinking about this self and how to escape it than a prisoner held captive by a sadistic serial killer can forget about the person who comes in to torture her everyday. Her body is brutalized by her mind. It hurts to breathe, eat, walk, think. The gross maneuverings of her limbs are so overwhelming, so wearying, that the fine muscle movements or quickness of wit necessary to write, to actually say something, are completely out of the question.

You have to read widely, constantly refining (and redefining) your own work as you do so. It’s hard for me to believe that people who read very little (or not at all in some cases) should presume to write and expect people to like what they have written, but I know it’s true. If I had a nickel for every person who ever told me he/she wanted to become a writer but “didn’t have time to read,” I could buy myself a pretty good steak dinner. Can I be blunt on this subject? If you don’t have the time to read, you don’t have the time (or the tools) to write. Simple as that. Reading is the creative center of a writer’s life. I take a book with me everywhere I go, and find there are all sorts of opportunities to dip in … Reading at meals is considered rude in polite society, but if you expect to succeed as a writer, rudeness should be the second-to-least of your concerns. The least of all should be polite society and what it expects. If you intend to write as truthfully as you can, your days as a member of polite society are numbered anyway.

In fact, the sickness I was suffering from was that I had been driven out of the paradise of childhood and had not found my place in the world of adults. I had set myself up in the absolute in order to gaze down upon this world which was rejecting me; now, if I wanted to act, to write a book, to express myself, I would have to go back down there: but my contempt had annihilated it, and I could see nothing but emptiness. The fact is that I had not yet put my hand to the plow. Love, action, literary work: all I did was to roll these ideas round in my head; I was fighting in an abstract fashion against abstract possibilities, and I had come to the conclusion that reality was of the most pitiful insignificance. I was hoping to hold fast to something, and misled by the violence of this indefinite desire, I was confusing it with the desire for the infinite.

Writing: such has been my crime ever since I was a small child. To this day writing remains my crime. Now, although I am out of prison, I continue to live inside a prison of another sort, one without steel bars. For the technology of oppression and might without justice has become more advanced, and the fetters imposed on mind and body have become invisible. The most dangerous shackles are the invisible ones, because they deceive people into believing they are free. This delusion is the new prison that people inhabit today, north and south, east and west...We inhabit the age of the technology of false consciousness, the technology of hiding truths behind amiable humanistic slogans that may change from one era to another...Democracy is not just freedom to criticize the government or head of state, or to hold parliamentary elections. True democracy obtains only when the people - women, men, young people, children - have the ability to change the system of industrial capitalism that has oppressed them since the earliest days of slavery: a system based on class division, patriarchy, and military might, a hierarchical system that subjugates people merely because they are born poor, or female, or dark-skinned.

Music was a kind of penetration. Perhaps absorption is a less freighted word. The penetration or absorption of everything into itself. I don't know if you have ever taken LSD, but when you do so the doors of perception, as Aldous Huxley, Jim Morrison and their adherents ceaselessly remind us, swing wide open. That is actually the sort of phrase, unless you are William Blake, that only makes sense when there is some LSD actually swimming about inside you. In the cold light of the cup of coffee and banana sandwich that are beside me now it appears to be nonsense, but I expect you to know what it is taken to mean. LSD reveals the whatness of things, their quiddity, their essence. The wateriness of water is suddenly revealed to you, the carpetness of carpets, the woodness of wood, the yellowness of yellow, the fingernailness of fingernails, the allness of all, the nothingness of all, the allness of nothing. For me music gives access to everyone of these essences, but at a fraction of the social or financial cost of a drug and without the need to cry 'Wow!' all the time, which is LSD's most distressing and least endearing side effects. ...Music in the precision of its form and the mathematical tyranny of its laws, escapes into an eternity of abstraction and an absurd sublime that is everywhere and nowhere at once. The grunt of rosin-rubbed catgut, the saliva-bubble blast of a brass tube, the sweaty-fingered squeak on a guitar fret, all that physicality, all that clumsy 'music making', all that grain of human performance...transcends itself at the moment of its happening, that moment when music actually becomes, as it makes the journey from the vibrating instrument, the vibrating hi-fi speaker, as it sends those vibrations across to the human tympanum and through to the inner ear and into the brain, where the mind is set to vibrate to frequencies of its own making. The nothingness of music can be moulded by the mood of the listener into the most precise shapes or allowed to float as free as thought; music can follow the academic and theoretical pattern of its own modality or adhere to some narrative or dialectical programme imposed by a friend, a scholar or the composer himself. Music is everything and nothing. It is useless and no limit can be set to its use. Music takes me to places of illimitable sensual and insensate joy, accessing points of ecstasy that no angelic lover could ever locate, or plunging me into gibbering weeping hells of pain that no torturer could ever devise. Music makes me write this sort of maundering adolescent nonsense without embarrassment. Music is in fact the dog's bollocks. Nothing else comes close.