Flannery O'connor Writing Quotes & Sayings

I know well enough that very few people who are supposedly interested in writing are interested in writing well. They are interested in publishing something, and if possible in making a "killing." They are interested in being a writer not in writing ... If this is what you are interested in, I am not going to be much use to you. — Flannery O'Connor

People without hope not only don't write novels, but what is more to the point, they don't read them. — Flannery O'Connor

Wise Blood was written by an author congenitally innocent of theory, but one with certain preoccupations. That belief in Christ is to some a matter of life and death has been a stumbling block for readers who would prefer to think it a matter of no great consequence. For them Hazel Motes' integrity lies in his trying with such vigor to get rid of the ragged figure who moves from tree to tree in the back of his mind. For the author Hazel's integrity lies in his not being able to. Does one's integrity ever lie in what he is not able to do? I think that usually it does, for free will does not mean one will, but many wills conflicting in one man. Freedom cannot be conceived simply. It is a mystery and one which a novel, even a comic novel, can only be asked to deepen. — Flannery O'Connor

I don't know how to cure the source-itis except to tell you that I can discover a good many possible sources myself for Wise Blood but I am often embarrassed to find that I read the sources after I had written the book. I have been exposed to Wordsworth's "Intimation" ode but that is all I can say about it. I have one of those food-chopper brains that nothing comes out of the way it went in. The Oedipus business comes nearer home. Of course Haze Motes is not an Oedipus figure but there are the obvious resemblances. At the time I was writing the last of the book, I was living in Connecticut with the Robert Fitzgeralds. Robert Fitzgerald translated the Theban cycle with Dudley Fitts, and their translation of the Oedipus Rex had just come out and I was much taken with it. Do you know that translation? I am not an authority on such things but I think it must be the best, and it is certainly very beautiful. Anyway, all I can say is, I did a lot of thinking about Oedipus. — Flannery O'Connor

I think the writer is initially set going by literature more than by life. When there are many writers all employing the same idiom, all looking out on more or less the same social scene, the individual writer will have to be more than ever careful that he isn't just doing badly what has already been done to completion. The presence alone of Faulkner in our midst makes a great difference in what the writer can and cannot permit himself to do. Nobody wants his mule and wagon stalled on the same track the Dixie Limited is roaring down. — Flannery O'Connor

The only way, I think, to learn to write short stories is to write them, and then try to discover what you have done. — Flannery O'Connor

Everywhere I go, I am asked if I think university stifles writers. My opinion is that it doesn't stifle enough of them. — Flannery O'Connor

When using dialect, use it lightly. A dialect word here and there is enough. All you want to do is suggest. Never let it call attention to itself. — Flannery O'Connor

I'm a full-time believer in writing habits ... You may be able to do without them if you have genius but most of us only have talent and this is simply something that has to be assisted all the time by physical and mental habits or it dries up and blows awayOf course you have to make your habits in this conform to what you can do. I write only about two hours every day because that's all the energy I have, but I don't let anything interfere with those two hours, at the same time and the same place. — Flannery O'Connor

Now the second common characteristic of fiction follows from this, and it is that fiction is presented in such a way that the reader has the sense that it is unfolding around him. This doesn't mean he has to identify himself with the character or feel compassion for the character or anything like that. It just means that fiction has to be largely presented rather than reported. Another way to say it is that though fiction is a narrative art, it relies heavily on the element of drama. — Flannery O'Connor

I have found, in short, from reading my own writing, that my subject in fiction is the action of grace in territory largely held by the devil.
I have also found that what I write is read by an audience which puts little stock either in grace or the devil. You discover your audience at the same time and in the same way that you discover your subject, but it is an added blow. — Flannery O'Connor

The problem of the novelist who wishes to write about a man's encounter with God is how he shall make the experience
which is both natural and supernatural
understandable, and credible, to his reader. In any age this would be a problem, but in our own, it is a well- nigh insurmountable one. Today's audience is one in which religious feeling has become, if not atrophied, at least vaporous and sentimental. — Flannery O'Connor

For nearly two centuries the popular spirit of each succeeding generation has tended more and more to the view that the mysteries of life will eventually fall before the mind of man. Many modern novelists have been more concerned with the processes of consciousness than with the objective world outside the mind. In twentieth-century fiction it increasingly happens that a meaningless, absurd world impinges upon the sacred consciousness of author or character; author and character seldom now go out to explore and penetrate a world in which the sacred is reflected. — Flannery O'Connor

The less self-conscious you are about what you are about, the better in a way, that is to say technically. You have to get it in your blood, not in the head. — Flannery O'Connor

I feel that discussing story-writing in terms of plot, character, and theme is like trying to describe the expression on a face by saying where the eyes, nose, and mouth are. — Flannery O'Connor

I love Crews, but had been writing a long time before I knew of him. I learned of him because a friend thought we were similar. The reason we are is we were both heavily influenced by Flannery O'Conner. She was wonderful. — Joe R. Lansdale

Success means being heard and don't stand there and tell me that you are indifferent to being heard. You may write for the joy of it, but the act of writing is not complete in itself. It has to end in its audience. — Flannery O'Connor

The high-school English teacher will be fulfilling his responsibility if he furnishes the student a guided opportunity, through the best writing of the past, to come, in time, to an understanding of the best writing of the present. He will teach literature, not social studies or little lessons in democracy or the customs of many lands. And if the student finds that this is not to his taste? Well, that is regrettable. Most regrettable. His taste should not be consulted; it is being formed. — Flannery O'Connor

Like Flannery O'Connor, McCorkle's genius is to give us both philosophical speculation and a riveting narrative filled with unforgettable characters. Great writing, poignancy, humor, wisdom-all are in abundance here. Jill McCorkle is one of the South's greatest writers; she is also one of America's. — Ron Rash

Whenever I'm asked why Southern writers particularly have a penchant for writing about freaks, I say it is because we are still able to recognize one. — Flannery O'Connor

I spend three hours a day writing and the rest of my day getting over it. — Flannery O'Connor

Flannery revealed she had been working on the novel "a year and a half and will probably be two more years finishing it." She described her writing habits in a letter dated July 13: "I must tell you how I work. I don't have my novel outlined and I have to write to discover what I am doing. — Flannery O'Connor

The fiction writer is an observer, first, last, and always, but he cannot be an adequate observer unless he is free from uncertainty about what he sees. Those who have no absolute values cannot let the relative remain merely relative; they are always raising it to the level of the absolute. The Catholic fiction writer is entirely free to observe. He feels no call to take on the duties of God or to create a new universe. He feels perfectly free to look at the one we already have and to show exactly what he sees. — Flannery O'Connor

There is a great tendency today to want everybody to write just the way everybody else does, to see and to show the same things in the same way to the same middling audience. But the writer, in order best to use the talents he has been given, has to write at his own intellectual level. For him to do anything else is to bury his talents. This doesn't mean that, within his limitations, he shouldn't try to reach as many people as possible, but it does mean that he must not lower his standards to do so. — Flannery O'Connor

Technique in the minds of many is something rigid, something like a formula that you impose on the material; but in the best stories it is something organic, something that grows out of the material, and this being the case, it is different for every story of any account that has ever been written. — Flannery O'Connor

You may ask, why not simply call this literature Christian? Unfortunately, the word Christian is no longer reliable. It has come to mean anyone with a golden heart. And a golden heart would be a positive interference in the writing of fiction. — Flannery O'Connor

It is a good deal easier for most people to state an abstract idea than to describe and thus re-create some object they actually see. — Flannery O'Connor

In the greatest fiction, the writer's moral sense coincides with his dramatic sense, and I see no way for it to do this unless his moral judgement is part of the very act of seeing, and he is free to use it. I have heard it said that belief in Christian dogma is a hindrance to the writer, but I myself have found nothing further from the truth. Actually, it frees the storyteller to observe. It is not a set of rules which fixes what he sees in the world. It affects his writing primarily by guaranteeing his respect for mystery ... — Flannery O'Connor

Far be it for me to have worked it out in any abstract way. I don't know why the bull and Mrs. May have to die, or why Mr. Fortune and Mary Fortune: I just feel in my bones that that is the way it has to be. If I had the abstraction first I don't suppose I would write the story. — Flannery O'Connor

A writer writes what interests him and what he can manage, and what he can make live, as Flannery O'Connor said. So my reaction to someone saying "You must!" or "You should!" or even "Hey, why don't you?" is basically to sort of shrug and politely walk off and do whatever I want to do. It's nobody else's business, really, and even if I happened to agree with one of those "musts" or "shoulds" what would I do about it, if my heart wasn't in it? — George Saunders

I write any sort of rubbish which will cover the main outlines of the story, then I can begin to see it. — Flannery O'Connor

The danger for the writer who is spurred by the religious view of the world is that he will consider this to be two operations instead of one. He will try to enshrine the mystery without the fact, and there will follow a further set of separations which are inimical to art. Judgement will be separated from vision, nature from grace, and reason from imagination.
They are separations which we see in our society and which exist in our writing. They are separations which faith tends to heal if we realize that faith is a 'walking in darkness' and not a theological solution to mystery. The poet is traditionally a blind man, but the Christian poet, and storyteller as well, is like the blind man whom Christ touched... — Flannery O'Connor

We are now living in an age which doubts both fact and value. It is the life of this age that we wish to see and judge. — Flannery O'Connor

It is always difficult to get across to people who are not professional writers that a talent to write does not mean a talent to write anything at all. — Flannery O'Connor

I have also led you astray by talking of technique as if it were something that could be separated from the rest of the story. Technique can't operate at all, of course, except on believable material. — Flannery O'Connor

The isolated imagination is easily corrupted by theory, but the writer inside his community seldom has such a problem. — Flannery O'Connor

He has the mistaken notion that a concern with grace is a concern with exalted human behavior, that it is a pretentious concern. It is, however, simply a concern with the human reaction to that which, instant by instant, gives life to the soul. It is a concern with a realization that breeds charity and with the charity that breeds action. Often the nature of grace can be made plain only by describing its absence. — Flannery O'Connor

Art requires a delicate adjustment of the outer and inner worlds in such a way that, without changing their nature, they can be seen through each other. — Flannery O'Connor

In any case, you can't have effective allegory in times when people are swept this way and that by momentary convictions, because everyone will read it differently. You can't indicate moral values when morality changes with what is being done, because there is no accepted basis of judgment. And you cannot show the operation of grace when grace is cut off from nature or when the very possibility of grace is denied, because no one will have the least idea of what you are about. — Flannery O'Connor

I feel that whatever virtues the novel may have are very much connected with the limitations you mention. I am not writing a conventional novel, and I think that the quality of the novel I write will derive precisely from the peculiarity or aloneness, if you will, of the experience I write from. — Flannery O'Connor

Fiction is about everything human and we are made out of dust, and if you scorn getting yourself dusty, then you shouldn't try to write fiction. It's not a grand enough job for you. — Flannery O'Connor

I suppose half of writing is overcoming the revulsion you feel when you sit down to it. — Flannery O'Connor

[Writing about her address to a ladies club]: The heart of my message to them was that they would all fry in Hell if they didn't quit reading trash. — Flannery O'Connor

One of the awful things about writing when you are a Christian is that for you the ultimate reality is the Incarnation, the present reality is the Incarnation, and nobody believes in the Incarnation; that is, nobody in your audience. My audience are the people who think God is dead. At least these are the people I am conscious of writing for. — Flannery O'Connor

Writing a novel is a terrible experience, during which the hair often falls out and the teeth decay. I'm always irritated by people who imply that writing fiction is an escape from reality. It is a plunge into reality and it's very shocking to the system. — Flannery O'Connor

The novelist is required to create the illusion of a whole world with believable people in it, and the chief difference between the novelist who is an orthodox Christian and the novelist who is merely a naturalist is that the Christian novelist lives in a larger universe. He believes that the natural world contains the supernatural. And this doesn't mean that his obligation to portray the natural is less; it means it is greater. — Flannery O'Connor

You can choose what you write but you can't choose what you make live. — Flannery O'Connor

People without hope do not write novels ... [Writing fiction] is a plunge into reality and it's very shocking to the system. If the novelist is not sustained by a hope of money, then he must be sustained by a hope of salvation, or he simply won't survive the ordeal. — Flannery O'Connor

Simone Weil is a mystery that should keep us all humble, and I need it more than most. Also she's the example of the religious consciousness without a religion which maybe sooner or later I will be able to write about. — Flannery O'Connor

There is no excuse for anyone to write fiction for public consumption unless he has been called to do so by the presence of a gift. It is the nature of fiction not to be good for much unless it is good in itself. — Flannery O'Connor

Anything that comes out of the South is going to be called grotesque by the northern reader, unless it is grotesque, in which case it is going to be called realistic. — Flannery O'Connor

Those who are long on logic, definitions, abstractions, and formulas are frequently short on a sense of the concrete. — Flannery O'Connor

Anybody who has survived his childhood has enough information about life to last him the rest of his days. — Flannery O'Connor

What is needed is the vision to go with it, and you do not get this from a writing class. — Flannery O'Connor

Remember that you don't write a story because you have an idea but because you have a believable character. — Flannery O'Connor

Not-writing is a good deal worse than writing. — Flannery O'Connor

As for the blood and the head business, the blood and the head work together and what is not first in the blood can sometimes reach it by going first through the head and what is wrong in the blood can sometimes be tempered by the head. — Flannery O'Connor

It's always wrong of course to say that you can't do this or you can't do that in fiction. You can do anything you can get away with, but nobody has ever gotten away with much. — Flannery O'Connor

Flannery O'Connor's writing is quite dark, but it is so because she believes in the Devil, and in the Fall, and in humanity as it is. Novels that avoid the horror of human existence in this time between Eden and New Jerusalem can reinforce a Christian's tendency to Pelagianism. The Christian gospel isn't "clean" and "safe" and "family-friendly." It comes to its narrative climax at a bloody Place of the Skull and in a borrowed grave. — Russell D. Moore

I don't think literature would be possible in a determined world. We might go through the motions but the heart would be out of it. Nobody could then 'smile darkly and ignore the howls.' Even if there were no Church to teach me this, writing two novels would do it. I think the more you write, the less inclined you will be to rely on theories like determinism. Mystery isn't something that is gradually evaporating. It grows along with knowledge. — Flannery O'Connor

I have to write to discover what I am doing. Like the old lady, I don't know so well what I think until I see what I say; then I have to say it again. — Flannery O'Connor

I don't believe in classes where students criticize each other's manuscripts. Such criticism is generally composed in equal parts of ignorance, flattery, and spite. It's the blind leading the blind, and it can be dangerous. A teacher who tries to impose a way of writing on you can be dangerous, too. — Flannery O'Connor

It makes a great difference to the look of a novel whether its author believes that the world came late into being and continues to come by a creative act of God, or whether he believes that the world and ourselves are the product of a cosmic accident. It makes a great difference to his novel whether he believes that we are created in God's image, or whether he believes we create God in our own. It makes a great difference whether he believes that our wills are free, or bound like those of the other animals. — Flannery O'Connor

Fiction operates through the senses, and I think one reason that people find it so difficult to write stories is that they forget how much time and patience is required to convince through the senses. No reader who doesn't actually experience, who isn't made to feel, the story is going to believe anything the fiction writer merely tells him. The first and most obvious characteristic of fiction is that it deals with reality through what can be seen, heard, smelt, tasted, and touched. — Flannery O'Connor

It is popular to believe that in order to see clearly one must believe nothing. This may work well enough if you are observing cells under a microscope. It will not work if you are writing fiction. For the fiction writer, to believe nothing is to see nothing. I — Flannery O'Connor

Everywhere I go I'm asked if I think the university stifles writers. My opinion is that they don't stifle enough of them. There's many a best-seller that could have been prevented by a good teacher. — Flannery O'Connor

Writing this, he had reached the pit of despair and he thought that reading it, she would at least begin to sense his tragedy and her part in it. It was not that she had ever forced her way on him. That had never been necessary. Her way had simply been the air he breathed and when at last he had found other air, he couldn't survive in it. He felt that even if she didn't understand at once, the letter would leave her with an enduring chill and perhaps in time lead her to see herself as she was. — Flannery O'Connor

Writing is like giving birth to a piano sideways. Anyone who perseveres is either talented or nuts. — Flannery O'Connor

Our age not only does not have a very sharp eye for the almost imperceptible intrusions of grace, it no longer has much feeling for the nature of the violences which precede and follow them. — Flannery O'Connor

If the writer believes that our life is and will remain essentially mysterious, if he looks upon us as beings existing in a created order to whose laws we freely respond, then what he sees on the surface will be of interest to him only as he can go through it into an experience of mystery itself. His kind of fiction will always be pushing its own limits outward toward the limits of mystery, because for this kind of writer, the meaning of a story does not begin except at a depth where adequate motivation and adequate psychology and the various determinations have been exhausted. Such a writer will be interested in what we don't understand rather than in what we do. He will be interested in possibility rather than probability. He will be interested in characters who are forced out to meet evil and grace and who act on a trust beyond themselves - whether they know clearly what it is they act upon or not. — Flannery O'Connor

I am often told that the model of balance for the novelist should be Dante, who divided his territory up pretty evenly between hell, purgatory, and paradise. There can be no objection to this, but also there can be no reason to assume that the result of doing it in these times will give us the balanced picture it gave in Dante's. Dante lived in the thirteenth century, when that balance was achieved by the faith of his age. We live now in an age which doubts both fact and value, which is swept this way and that by momentary convictions. Instead of reflecting a balance from the world around him, the novelist now has to achieve one from a felt balance inside himself. — Flannery O'Connor

The fact is that if the writer's attention is on producing a work of art, a work that is good in itself, he is going to take great pains to control every excess, everything that does not contribute to this central meaning and design. He cannot indulge in sentimentality, in propagandizing, or in pornography and create a work of art, for all these things are excesses. They call attention to themselves and distract from the work as a whole. — Flannery O'Connor

Unfortunately, to try to disconnect faith from vision is to do violence to the whole personality, and the whole personality participates in the act of writing. The tensions of being a Catholic novelist are probably never balanced for the writer until the Church becomes so much a part of his personality that he can forget about her - in the same sense that when he writes, he forgets about himself. — Flannery O'Connor

Fiction writing is very seldom a matter of saying things; it is a matter of showing things. However, — Flannery O'Connor

If there is no possibility for change in a character, we have no interest in him. — Flannery O'Connor

The writer who position is Christian, and probably also the writer whose position is not, will begin to wonder at this point if there could not be some ugly correlation between our unparalleled prosperity and the stridency of these demands for a literature that shows us the joy of life. He may at least be permitted to ask if these screams for joy would be quite so piercing if joy were really more abundant in our prosperous society. — Flannery O'Connor

You get a real person down there and his talking will take care of itself. — Flannery O'Connor

I don't think you should write something as long as a novel around anything that is not of the gravest concern to you and everybody else and for me this is always the conflict between an attraction for the Holy and the disbelief in it that we breathe in with the air of the times. — Flannery O'Connor

I am a writer because writing is the thing I do best. — Flannery O'Connor

Art never responds to the wish to make it democratic; it is not for everybody; it is only for those who are willing to undergo the effort needed to understand it. — Flannery O'Connor

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. — Anne Lamott

Writing is a good example of self-abandonment. I never completely forget myself except when I am writing and I am never more completely myself than when I am writing. — Flannery O'Connor

There is something in us, as storytellers and as listeners to stories, that demands the redemptive act, that demands that what falls at least be offered the chance to be restored. The reader of today looks for this motion, and rightly so, but what he has forgotten is the cost of it. His sense of evil is diluted or lacking altogether, and so he has forgotten the price of restoration. When he reads a novel, he wants either his sense tormented or his spirits raised. He wants to be transported, instantly, either to mock damnation or a mock innocence. — Flannery O'Connor