Nonfiction Writing Quotes

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

Non-fiction can distort; facts can be realigned. But fiction never lies.

Read everything. Read fiction and non-fiction, read hot best sellers and the classics you never got around to in college.

He would write it for the reason he felt that all great literature, fiction and nonfiction, was written: truth comes out, in the end it always comes out. He would write it because he felt he had to.

The elements of the written word can be purely magical. I read and I write...I inspire and I’m living.

Decide what you want to do. Then decide to do it. Then do it.

Don’t try to visualize the great mass audience. There is no such audience—every reader is a different person.

Writing is an act of ego, and you might as well admit it.

Examine every word you put on paper. You'll find a surprising number that don't serve any purpose.

But my way of writing is rather to think aloud, and follow my own humours, than much to consider who is listening to me; and, if I stop to consider what is proper to be said to this or that person, I shall soon come to doubt whether any part at all is proper.

Writing is hard work. A clear sentence is no accident. Very few sentences come out right the first time, or even the third time. Remember this in moments of despair. If you find that writing is hard, it’s because it is hard.

Keep writing, dreaming and creating. There are no boundaries to your imagination. Writers are gifts to the world.

Clutter is the disease of American writing. We are a society strangling in unnecessary words, circular constructions, pompous frills and meaningless jargon.

The only way to learn to write is to force yourself to produce a certain number of words on a regular basis.

I think it would be well, and proper, and obedient, and pure, to grasp your one necessity and not let it go, to dangle from it limp wherever it takes you. Then even death, where you're going no matter how you live, cannot you part.

Make my life my favorite movie. Live my favorite character. Write my own script. Direct my own story. Be my biography. Make my own documentary on me. Non-fiction, live, not recorded. Time to catch that hero I've been chasing. See if the sun will melt the wax that holds my wings or if the heat is just a mirage. Live my legacy now. Quit acting like me. Be me.

the secret of good writing is to strip every sentence to its cleanest components.

One of the paradoxes of writing is that when you write non-fiction everyone tries to prove that it's wrong, and when you publish fiction, everyone tries to see the truth in it.

Less is more.

Don't be kind of bold. Be bold.

Ever hear the expression "write what you know?" My version says "write what you want to know." If you want to know about the history of Spain, write about the history of Spain - fiction or nonfiction. If your fascinated by the old west, maybe your character lives there.

I need the sky's colored threads to tangle inside me, pull me somewhere new.

Perhaps this is the purpose of all art, all writing, on the murders, fiction and non-fiction: Simply to participate.

More than half the skill of writing lies in tricking the book out of your own head.

Escapism isn't good or bad of itself. What is important is what you are escaping from and where you are escaping to. I write from experience, since in my case I escaped to the idea that books could be really enjoyable, an aspect of reading that teachers had not hitherto suggested.

There's a big difference between us. I write non-fiction, you write fiction. I write truths that tell lies. You write lies that tell truths.

Fiction and non-fiction are only different techniques of story telling. For reasons I do not fully understand, fiction dances out of me. Non-fiction is wrenched out by the aching, broken world I wake up to every morning.

There are many good reasons for writing that have nothing to do with being published. Writing is a powerful search mechanism, and one of its satisfactions is to come to terms with your life narrative. Another is to work through some of life’s hardest knocks—loss, grief, illness, addiction, disappointment, failure—and to find understanding and solace.

We are all born as storytellers. Our inner voice tells the first story we ever hear.

If the nails are weak, your house will collapse. If your verbs are weak and your syntax is rickety, your sentences will fall apart.

Learning, thinking, and writing should not be about accumulating knowledge, but about becoming a different person with a different way of thinking. This is done by questioning one’s own thinking routines in light of new experiences and facts.

There’s not much to be said about the period except that most writers don’t reach it soon enough.

Clear thinking becomes clear writing; one can't exist without the other.

The most important advantage of writing is that it helps us confront ourselves when we do not understand something as well as we would like to believe.

Look for the clutter in your writing and prune it ruthlessly. Be grateful for everything you can throw away. Reexamine each sentence you put on paper. Is every word doing new work? Can any thought be expressed with more economy?

The writer's object should be to hold the reader's attention. I want the reader to turn the page and keep on turning until the end. This is accomplished only when the narrative moves steadily ahead, not when it comes to a weary standstill, overloaded with every item uncovered in the research.

Don’t say you were a bit confused and sort of tired and a little depressed and somewhat annoyed. Be confused. Be tired. Be depressed. Be annoyed. Don’t hedge your prose with little timidities. Good writing is lean and confident.

The real enemy of independent thinking is not an external authority, but our own inertia. The ability to generate new ideas has more to do with breaking with old habits of thinking than with coming up with as many ideas as possible.

....and on occasion I like to write in pencil, because I need to know that I can erase the words, even if I never do.

Creativity is just connecting things. When you ask creative people how they did something, they feel a little guilty because they didn’t really do it, they just saw something.” (Steve Jobs)

In art nothing is more secondary than the author's intentions.

The reader is someone with an attention span of about 30 seconds.

As a writer you must keep a tight rein on your subjective self—the traveler touched by new sights and sounds and smells—and keep an objective eye on the reader.

When we take permanent notes, it is much more a form of thinking within the medium of writing and in dialogue with the already existing notes within the slip-box

The first story I have to tell is not exactly true, but it isn't exactly false, either.

I've allowed some of these points to stand, because this is a book of memory, and memory has its own story to tell. But I have done my best to make it tell a truthful story.

An idea kept private is as good as one you never had. And a fact no one can reproduce is no fact at all.

When writers stop believing in their own stories, readers tend to sense it.

the hospital after the diagnosis she formed a sudden and strong intuition: “This disease wanted to monopolize my attention, but as much as possible, I would focus on my life instead.” The cancer treatment that followed was exhausting and terrible, but Gallagher couldn’t help noticing, in that corner of her brain honed by a career in nonfiction writing, that her commitment to focus on what was good in her life—“movies, walks, and a 6:30 martini”—worked surprisingly well. Her life during this period should have been mired in fear

As writers we intend to make a difference, to alter people's lives for the greater good. . .this is why we write, to have an impact on society, to put a personal stamp on history. . .Art and literature are the legacies we leave to succeeding generations. We'll be forgotten, but our books and essays, our stories and poems can survive us. . .

But it’s what I call “The Valley Filled with Clouds” technique. You’re at the edge of the valley, and there is a church steeple, and there is a tree, and there is a rocky outcrop, but the rest of it is mist. But you know that because they exist, there must be ways of getting from one to the other that you cannot see. And so you start the journey. And when I write, I write a draft entirely for myself, just to walk the valley and find out what the book is going to be all about.

Thinking clearly is a conscious act that writers must force on themselves,

Simplify, simplify.

I think a sentence is a fine thing to put a preposition at the end of.

Writers are the custodians of memory...

Think not of the fragility of life, but of the power of books, when mere words can change our lives simply by being next to each other.

The best of fiction, as we know, of course, doesn't tell the truth; it tales the truth.

writing is a craft, not an art, and that the man who runs away from his craft because he lacks inspiration is fooling himself.

writing is not only for proclaiming opinions, but the main tool to achieve insight worth sharing.

Good students also look beyond the obvious. They peek over the fences of their own disciplines – and once you have done that, you cannot go back and do what everyone else is doing, even if you now must deal with heterogeneous ideas that come without a manual on how they might fit together

The solution to entrapment in the narcissistic hothouse of self is to not relinquish autobiographical writing, but to expand the self by bringing one's curiosity to interface with more and more history and the present world.

Writing fiction is not a profession that leaves one well-disposed toward reading fiction. One starts out loving books and stories, and then one becomes jaded and increasingly hard to please. I read less and less fiction these days, finding the buzz and the joy I used to get from fiction in ever stranger works of non-fiction, or poetry.

What is abnormal is that I am normal. That I survived the Holocaust and went on to love beautiful girls, to talk, to write, to have toast and tea and live my life—that is what is abnormal.

She might not have read many books. But when she reads a book, she swallows the very words. If you open the books on her shelves, you will find that the front and back covers encase white pages.

Nonfiction at its best is like fashioning a cabinet. It can never be a sculpture. It can be elegant and very beautiful, but it can never be sculpture. Captive to facts - or predetermined form - it cannot fly.

Never say anything in writing that you wouldn’t comfortably say in conversation. If you’re not a person who says “indeed” or “moreover,” or who calls someone an individual (“he’s a fine individual”), please don’t write it.

Don't annoy your readers by over-explaining--by telling them something they already know or can figure out. Try not to use words like "surprisingly," "predictably" and "of course," which put a value on a fact before the reader encounters the fact. Trust your material.

Writing improves in direct ratio to the number of things we can keep out of it that shouldn’t be there.

Writing nonfiction means I tell people's stories for them, not because they're special but because we all are.

They inhabited a lost world of splendour and brutality, a world dominated by religious change, in which there were few saints.

...being "rather unique" is no more possible than being rather pregnant.

It wont do to say that the reader is too dumb or too lazy to keep pace with the train of thought. If the reader is lost, it's usually because the writer hasn't be careful enough.

just one idea per note and force ourselves to be as precise and brief as possible. The restriction to one idea per note is also the precondition to recombine them freely later.

I would not have understood that the best way to show people true things is from a direction that they had not imagined the truth coming, nor that the majesty and the magic of belief and dreams could be a vital part of life and of writing.

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 in between. Personally, I would sooner have written Alice in Wonderland than the whole Encyclopedia Britannica.

Words on a page are incomplete. The poem, the novel or the non-fiction pamphlet are finished when they are taken up and engaged with. Connection is collaborative. For words to have meaning, they have to be read.

How come you write the way you do?” an apprentice writer in my Johns Hopkins workshop once disingenuously asked Donald Barthelme, who was visiting. Without missing a beat, Don replied, “Because Samuel Beckett was already writing the way he does.” Asked another, smiling but serious, “How can we become better writers than we are?” “Well," DB advised, “for starters, read through the whole history of philosophy, from the pre-Socratics up through last semester. That might help.” “But Coach Barth has already advised us to read all of literature, from Gilgamesh up through last semester...” “That, too,” Donald affirmed, and twinkled that shrewd Amish-farmer-from-West-11th-Street twinkle of his. “You’re probably wasting time on things like eating and sleeping. Cease that, and read all of philosophy and all of literature. Also art. Plus politics and a few other things. The history of everything.

Lots of writers are fascinated by evil and write copiously about it, but they are bored by virtue; this not only limits their scope but prevents a satisfactory account of evil, which can no more be comprehended apart from good than light can be comprehended apart from darkness.

Learn to enjoy this tidying process. I don't like to write; I like to have written. But I love to rewrite. I especially like to cut: to press the DELETE key and see an unnecessary word or phrase or sentence vanish into the electricity. I like to replace a humdrum word with one that has more precision or color. I like to strengthen the transition between one sentence and another. I like to rephrase a drab sentence to give it a more pleasing rhythm or a more graceful musical line. With every small refinement I feel that I'm coming nearer to where I would like to arrive, and when I finally get there I know it was the rewriting, not the writing, that wont the game.

That's the difference between a champ and a knife thrower. The champ may have lost his stuff temporarily or permanently, he can't be sure. But when he can no longer throw the high hard one, he throws his heart instead. He throws something. He doesn't just walk off the mound and weep.

Nonfiction is at its best an act of putting the world back together - or tearing some piece of it apart to find what's hidden beneath the assumptions or conventions - and in this sense creation and destruction can be akin. The process can be incandescent with excitement, whether from finding some unexpected scrap of information or from recognizing the patterns that begin to arise as the fragments begin to assemble. Something you didn't know well comes into focus, and the world makes sense in a new way, or an old assumption is gutted, and then you try to write it down.

When you are describing things and places the reader has seen, keep description short by reminding him of the pictures he has on file. When you are describing things and places the reader has not seen, keep description short by using pieces of the pictures he has on file to create new pictures.

Those who think of themselves as being open-minded are often even more prone to stick to their first understanding as they believe themselves to be without natural prejudices and therefore don’t see the need to counter-balance them. If we think we can ‘hold back’ on interpretation, we are fooling ourselves.

Beware, then, of the long word that's no better than the short word: "assistance" (help), "numerous" (many), "facilitate" (ease), "Individual" (man or woman), "remainder" (rest), "initial" (first), "implement" (do), "sufficient" (enough), "attempt" (try), "referred to as" (called), and hundreds more. Beware of all the slippery new fad words: paradigm and parameter, prioritize and potentialize. They are all weeds that will smother what you write. Don't dialogue with someone you can talk to. Don't interface with anybody.

Rewriting is the essence of writing well: it’s where the game is won or lost. That idea is hard to accept. We all have an emotional equity in our first draft; we can’t believe that it wasn’t born perfect. But the odds are close to 100 percent that it wasn’t. Most writers don’t initially say what they want to say, or say it as well as they could.

I believe that you have the absolute right to think things that I find offensive, stupid, preposterous or dangerous, and that you have the right to speak, write, or distribute these things, and that I do not have the right to kill you, maim you, hurt you, or take away your liberty or property because I find your ideas threatening or insulting or downright disgusting. You probably think some of my ideas are pretty vile too. I

If you write well and honestly, with character rising from background and action springing from character, and if you remain true to your vision of life, then theme will emerge in the reading process. And if you write what you believe, and only what you believe, the theme will inevitably be consistent.

The challenge of writing Is to see your horribleness on the page To see your terribleness And then go to bed. And wake up the next day And take that horribleness and terribleness, And refine it, And make it not so terrible and not so horrible. And then to go to bed again. And come the next day, And refine it a little bit more, And make it not so bad. And then to go to bed again. And do it again the next day, And make it maybe average, And then one more time, If you’re lucky, Maybe you get to good, And if you’ve done that, That’s a success.

Some years ago a writer not much older than I am now told me (not bitterly, but matter-of-factly) that it was a good thing that I, as a young writer, did not have to face the darkness that he faced every day, the knowledge that his best work was behind him. And another, in his eighties, told me that what kept him going every day was the knowledge that his best work was still out there, the great work that he would one day do. I aspire to the condition of the second of my friends, I like the idea that one day I'll do something that really works, even if I fear that I've been saying the same things for over thirty years. As we get older, each thing we do, each thing we write reminds us of something else we've done. Events rhyme. Nothing quite happens for the first time anymore.

All works of nonfiction, or memoir, have to first and foremost be art before they can be true. They have to be artful first before they can be truthful... If you emphasize the truth-telling at the expense of art, nobody is going to be interested in it. And if you sacrifice truth in the name of art, you risk triviality. There's a constant balance between those two.

But the secret of good writing is to strip every sentence to its cleanest components. Every words that serves no function, every long word that could be a short word, every adverb that carries the same meaning that's already in the verb, every passive construction that leaves the reader unsure of who is doing what--these are the thousand and one adulterants that weaken the strength of a sentence. And they usually occur in proportion to education and rank,

Jonathan Safran Foer’s 10 Rules for Writing: 1.Tragedies make great literature; unfathomable catastrophes (the Holocaust, 9/11) are even better – try to construct your books around them for added gravitas but, since those big issues are such bummers, make sure you do it in a way that still focuses on a quirky central character that’s somewhat like Jonathan Safran Foer. 2. You can also name your character Jonathan Safran Foer. 3. If you’re writing a non-fiction book you should still make sure that it has a strong, deep, wise, and relatable central character – someone like Jonathan Safran Foer. 4. If you reach a point in your book where you’re not sure what to do, or how to approach a certain scene, or what the hell you’re doing, just throw in a picture, or a photo, or scribbles, or blank pages, or some illegible text, or maybe even a flipbook. Don’t worry if these things don’t mean anything, that’s what postmodernism is all about. If you’re not sure what to put in, you can’t go wrong with a nice photograph of Jonathan Safran Foer. 5. If you come up with a pun, metaphor, or phrase that you think is really clever and original, don’t just use it once and throw it away, sprinkle it liberally throughout the text. One particularly good phrase that comes to mind is “Jonathan Safran Foer.” 6. Don’t worry if you seem to be saying the same thing over and over again, repetition makes the work stronger, repetition is good, it drives the point home. The more you repeat a phrase or an idea, the better it gets. You should not be afraid of repeating ideas or phrases. One particularly good phrase that comes to mind is “Jonathan Safran Foer.” 7. Other writers are not your enemies, they are your friends, so you should feel free to borrow some of their ideas, words, techniques, and symbols, and use them completely out of context. They won’t mind, they’re your friends, just like my good friend Paul Auster, with whom I am very good friends. Just make sure you don’t steal anything from Jonathan Safran Foer, it wouldn’t be nice, he is your friend. 8. Make sure you have exactly three plots in your novel, any more and it gets confusing, any less and it’s not postmodern. At least one of those plots should be in a different timeline. It often helps if you name these three plots, I often use “Jonathan,” “Safran,” and “Foer.” 9. Don’t be afraid to make bold statements in you writing, there should always be a strong lesson to be learned, such as “don’t eat animals,” or “the Holocaust was bad,” or “9/11 was really really sad,” or “the world would be a better place if everyone was just a little bit more like Jonathan Safran Foer.” 10. In the end, don’t worry if you’re unsuccessful as a writer, it probably wasn’t meant to be. Not all of us are chosen to become writers. Not all of us can be Jonathan Safran Foer.

Mind you, I do recall that Salman Rushdie actually came second in a science fiction writing competition organized by Gollancz in the late 1970s. Just imagine if he’d won – Ayatollahs from Mars! – he would have had none of that trouble over The Satanic Verses, ’cos it would have been SF and therefore unimportant. He’d have been coming along to cons. He’d be standing here now! Ah, but the little turns and twists of history . . .

Preoccupation with style will not produce it. No amount of editing and polishing will have any appreciable effect on the flavor of how a man writes. It is a product of the quality of his emotion and perception; it is the ability to transfer these to paper which makes him a writer, in contrast to the great number of people who have just as good emotions and just as keen perceptions, but cannot come within a googol of miles of putting them on paper.

School is different. Pupils are usually not encouraged to follow their own learning paths, question and discuss everything the teacher is teaching and move on to another topic if something does not promise to generate interesting insight. The teacher is there for the pupils to learn. But, as Wilhelm von Humboldt, founder of the Humboldt University of Berlin and brother to the great explorer Alexander von Humboldt, put it, the professor is not there for the student and the student not for the professor. Both are only there for the truth. And truth is always a public matter.

Q: Do you have any advice for upcoming writers who want to pen weird stories? A: READ, damn it. Fill your brain to the bursting point with the good stuff, starting with writers that you truly enjoy, and then work your way backward and outward, reading those writers who inspired the writers you love best. That was my path as far as Weird/Horror Fiction, starting with Lovecraft, and then working my way backward/outward on the Weird Fiction spiderweb. And don’t limit your reading. Read it all, especially non-fiction and various news outlets. You’d be surprised by how many of my story ideas were born while listening to NPR, perusing a blog, or paging through Vanity Fair. Once you have your fuel squared away, just write what you love, in whatever style and genre. You’ll never have fun being someone you’re not, so be yourself. When a singer opens their mouth, what comes out is what comes out. Also, don’t be afraid to fail, and don’t be afraid to walk away. Writing isn’t for everyone, and that’s totally fine. One doesn’t need to be a writer to enjoy being a reader and overall fan of genre or wider fiction.

Sometimes writers write about a world that does not yet exist. We do it for a hundred reasons. (Because it’s good to look forward, not back. Because we need to illuminate a path we hope or we fear humanity will take. Because the world of the future seems more enticing or more interesting than the world of today. Because we need to warn you. To encourage. To examine. To imagine.) The reasons for writing about the day after tomorrow, and all the tomorrows that follow it, are as many and as varied as the people writing.

When I agreed to give this address, I started trying to think what the best advice I'd been given over the years was. And it came from Stephen King twenty years ago, at the height of the success of Sandman. I was writing a comic that people loved and were taking seriously. King had like Sandman and my novel with Terry Pratchett, Good Omens, and he saw a madness, the long signing lines, all that, and his advice was this: "This is really great. You should enjoy it." And I didn't. Best advice I got that I ignored. Instead I worried about it. I worried about the next deadline, the next idea, the next story. There wasn't a moment for the next fourteen or fifteen years that I wasn't writing something in my head, or wondering about it. And I didn't stop and look around and go, This is really fun. I wish I'd enjoyed it more. It's been an amazing ride. But there were parts of the ride I missed, because I was too worried about things going wrong, about what came next, to enjoy the bit I was on. That was the hardest lesson for me, I think: to let go and enjoy the ride, because the ride takes you to some remarkable and unexpected places.

reining yourself in because why ruin a good thing? why make it weird? and then you say goodbye, with a hug, with a snarky remark, and head home. you climb into bed and imagine them with you. you think about how their hair falls in their face, about how they breathe when they sleep. you think about them waking up and nudging you into consciousness with soft kisses down your torso. you sit in bed and think of all the ways you could make their soul dance. how you know their quirks and it all feels so right, but why? why is this happening? why can’t you just be content with what you have now? except even now you have to control the urge to kiss them, even though it is in your nature, even just on the cheek, because what if it breaks the relationship apart at the seams? you may not even mean it sexually or romantically, but what if? and there’s always the chance they have felt this way too. but it’s only a chance. and why risk it? so you lay there in bed and twist the sheets around your legs and text them back about another person they have feelings toward and coax them into something healthy. you put their happiness before your own. you watch as they stumble and help them rise mightily. you gush over them and try to snuff out the selfishness that builds whenever you see them with someone else. it wouldn’t be fair to them to impose your own wants on them and take away a good friendship. it isn’t always about you. and yet here you are, writing this. writing this and thinking of someone specific the entire time.

I got a book deal, I told Neil grumpily. I’m going to write a book about the TED talk. And all the…other stuff I couldn’t fit into twelve minutes. He was writing at the kitchen table and looked up with delight. Of course you did. They’re paying me an actual advance, I said. I can pay you back now. That’s wonderful, my clever wife. I told you it would all work out. But I’ve never written a book. How could they pay me to write a book? I don’t know how to write a book. You’re the writer. You’re hopeless, my darling, he said. I glared at him. Just write the book, Amanda. Do what I do: finish your tour, go away somewhere, and write it all down in one sitting. They’ll get you an editor. You’re a songwriter. You blog. A book is just…longer. You’ll have fun. Fine, I’ll write it, I said, crossing my arms. And I’m putting EVERYTHING in it. And then everyone will know what an asshole I truly am for having a best-selling novelist husband who covered my ass while I waited for the check to clear while writing the ridiculous self-absorbed nonfiction book about how you should be able to take help from everybody. You realize you’re a walking contradiction, right? he asked. So? I contain multitudes. Can’t you just let me cling to my own misery? He looked at me. Sure, darling. If that’s what you want. I stood there, fuming. He sighed. I love you, miserable wife. Would you like to go out to dinner to maybe celebrate your book deal? NO! I DON’T WANT TO CELEBRATE. IT’S ALL MEANINGLESS! DON’T YOU SEE? I give up, he said, and walked out of the room. GOOD! I shouted after him. YOU SHOULD GIVE UP! THIS IS A HOPELESS FUCKING SITUATION! I AM A TOTALLY WORTHLESS FRAUD AND THIS BOOK DEAL PROVES IT. Darling, he called from the other room, are you maybe expecting your period? NO. MAYBE. I DON’T KNOW! DON’T EVEN FUCKING ASK ME THAT. GOD. Just checking, he said. I got my period a few days later. I really hate him sometimes.