The Literary Process Quotes & Sayings

Writing and making films aren't different things to me. Or maybe it has become so, now. Making film is a very long process and you have to be physically strong. The literary work is more mystical, because it's only the writer, and connected to something inside. — Abdellah Taia

Without entering here into a dissertation upon the historical romance, it may be said that in proper hands it has been and should continue to be one of the most valued and valuable expressions of the literary art. To render and maintain it so, however, it is necessary that certain well-defined limits should be set upon the licence which its writers are to enjoy; it is necessary that the work should be honest work; that preparation for it should be made by a sound, painstaking study of the period to be represented, to the end that a true impression may first be formed and then conveyed. Thus, considering how much more far-reaching is the novel than any other form of literature, the good results that must wait upon such endeavours are beyond question. The neglect of them - the distortion of character to suit the romancer's ends, the like distortion of historical facts, the gross anachronisms arising out of a lack of study, have done much to bring the historical romance into disrepute. — Rafael Sabatini

The author is impacted by a hidden insistence that takes the shape of different combinations each time a
different text is produced but the underlying problem remains the same for him. — Anuradha Bhattacharyya

I do not so much write a book as sit up with it, as with a dying friend. During visiting hours, I enter its room with dread and sympathy for its many disorders. I hold its hand and hope it will get better.
This tender relationship can change in a twinkling. If you skip a visit or two, a work in progress will turn on you. — Annie Dillard

We live today amid ritualized anithumanisms. Among those intelligent enough to feel despair, some seek salvation in the literary artist. Artists love flattery; and the scam doesn't work without mystifying the process.

The weather is unpredictable, but it is not mysterious.

Wall Street is unpredictable, but it is not mysterious.

Writing is unpredictable, (like street and sky, there are too many variables.) Its mystery vanishes, like a shadow, the moment the light aimed at your characters turns back upon yourself. — Doran Larson

Never try to keep it professional, keep it smutty, write with bodily fluids on sandpaper, and damn the men with clipboards in white suits, the literary bean-counters, the prose police. — Peter Selgin

I was searching for a vocabulary with which to make sense of death, to find a way to begin defining myself and inching forward again. The privilege of direct experience had led me away from literary and academic work, yet now I felt that to understand my own experiences, I would have to translate them back into language. Hemingway described his process in similar terms: acquiring rich experiences, then retreating to cogitate and write about them. I needed words to go forward. — Paul Kalanithi

But whatever the exact psychology of the process {receiving recognition or literary success}, the present has a way of contaminating the past. And the writing will change accordingly. Turmoil and dilemma once experienced with a certain desperation may be seen more complacently as the writer reflects that through expressing them he has realized his inevitable and well-deserved triumph. The lean years of patient toil when no one paid attention may even begin to seem preferable to the present. The very thing you created in the heat of fierce concentration has destroyed the circumstances that made it possible. The writer is devoured along with his books. — Tim Parks

I think that the thematic, formal history of the literary form ultimately harkens back to a different political system. That is to say, a feudal order: the aristocratic dispensation of leisure time, the refinements of the self. With the shift from feudal aristocracy to democracy there has been a long process of evolution. I think we're in the throes of a kind of steep, logarithmic shift, and I think that literary forms are losing their capacity to connect people to issues, to the experiences that feel most meaningful to them. — Ayad Akhtar

These scenes, by the way, are not altogether a literary device - a means of summing up and making a knot of innumerable little threads. Innumerable threads were there; still, if I stopped to disentangle, I could collect a number. But whatever the reason may be, I find that scene making is my natural way of marking the past. — Virginia Woolf

Sometimes I think that creativity is a matter of seeing, or stumbling over, unobvious similarities between things - like composing a fresh metaphor, but on a more complex scale. One night in Hiroshima it occurred to me that the moon behind a certain cloud formation looked very like a painkiller dissolving in a glass of water. I didn't work toward that simile, it was simply there: I was mugged, as it were, by the similarity between these two very different things. Literary composition can be a similar process. The writer's real world and the writer's fictional world are compared, and these comparisons turned into text. But other times literary composition can be a plain old slog, and nothing to do with zones or inspiration. It's world making and the peopling of those worlds, complete with time lines and heartache. — David Mitchell

Of course, Kafka doesn't see himself as a sort of party. He doesn't even pretend to be revolutionary, whatever his socialist sympathies may be. He knows that all the lines link him to a literary machine of expression for which he is simultaneously the gears, the mechanic, the operator, and the victim. So how will he proceed in this bachelor machine that doesn't make use of, and can't make use of, social critique? How will he make a revolution?
He will act on the German language such as it is in Czechoslovakia. Since it is a deterritorialized language in many ways, he will push the deterritorialization farther, not through intensities, reversals and thickenings of the language but through a sobriety that makes language take flight on a straight line, anticipates or produces its segmentations. Expression must sweep up content; the same process must happen to form ... It is not a politics of pessimism, nor a literary caricature or a form of science fiction. — Gilles Deleuze

All good writers are thieves. The best get away with a heist. — Michael Stutz

I feign knowledge of writing: that I know something about it, that I should have learned something after all these years, that I might know something tomorrow.
I read too much and write too little, or write too much and live too little. I have no classical education, no literary degree. I'm not specialized, Hugoed or geniusized; should I be writing at all?
In this whole vast world, I'm a female peon sitting here at night wondering what it is I want to say. I aim for fluidity. But no, nix that line, that thought, this life. That's the crux of it, isn't it? This life: it's out of reach. I'm not sure what I'm saying anymore. — Chila Woychik

Modern literary theory sees a similarity between walking and writing that I find persuasive: words inscribe a text in the same way that a walk inscribes space. In The practicse of Everyday Life, Michel de Certeau writes, 'The act of walking is a process of appropriation of the topographical system on the part of the pedestrian; it is a special acting-out of the place ... and it implies relations among differentiated positions.' I think this is a fancy way of saying that writing is one way of making the world our own, and that walking is another. — Geoff Nicholson

Tradition is not only bending down, or process of benign transmission. It is also a conflict between past genius and present aspiration in which the price is literary survival or canonical inclusion. — Harold Bloom

I realized that my life of late had consisted of far too much dialogue and not enough exposition. I imagined an angry, bespectacled English teacher slashing his pen through the transcript of my life, wondering how someone could possibly say so much and think so little. — Catherine Lowell

The farther away you get from the literary traffic, the closer you are to sources. — Nelson Algren

Even at the moment when the last page is turned, a great part of the book, its finer detail, is already vague and doubtful. A little later, after a few days or months, how much is really left of it? — Percy Lubbock

[I began to unload] the pyramid of honors, civic and literary, which had been heaped on me by the headlong process of rewarding a popular success. One day, I sat down and wrote a wholesale lot of letters of resignation. When I finished, I didn't belong to a single authors club or patriotic society. I was myself again, whatever that was. — Mary Antin

The range and variety of Chaucer's English did much to establish English as a national language. Chaucer also contributed much to the formation of a standard English based on the dialect of the East Midlands region which was basically the dialect of London which Chaucer himself spoke. Indeed, by the end of the fourteenth century the educated language of London, bolstered by the economic power of London itself, was beginning to become the standard form of written language throughout the country, although the process was not to be completed for several centuries. The cultural, commercial, administrative and intellectual importance of the East Midlands (one of the two main universities, Cambridge, was also in this region), the agricultural richness of the region and the presence of major cities, Norwich and London, contributed much to the increasing standardisation of the dialect. — Ronald Carter

Before the magisterial mess of Trevor Thomas's house, the orderly houses that most of us live in seem meagre and lifeless
as, in the same way, the narratives called biographies pale and shrink in the face of the disorderly actuality that is a life. The house also stirred my imagination as a metaphor for the problem of writing. Each person who sits down to write faces not a blank page but his own overfilled mind. The problem is to clear out most of what is in it ... The goal is to make a space where a few ideas and images and feelings may be so arranged that a reader will want to linger awhile among them, rather than to flee, as I wanted to flee from Thomas's house. — Janet Malcolm

For more than half a century I have tried to confront greatness directly, hardly a fashionable stance, but I see no other justification for literary criticism in the shadows of our Evening Land. Over time the strong poets settle these matters for themselves, and precursors remain alive in their progeny. Readers in our flooded landscape use their own perceptiveness. But an advance can be of some help. If you believe that the canon in time will select itself, you still can follow a critical impulse to hasten the process, as I did with the later Stevens, Ashbury, and, more recently, Henri Cole. — Harold Bloom

I don't want to dive into that mud slide, which is what I consider the literary process. — Joseph Brodsky

People who read literary fiction (as opposed to popular fiction or nonfiction) were better able to detect another person's emotions, and the theory proposed was that literary fiction engages the reader in a process of decoding the characters' thoughts and motives in a way that popular fiction and nonfiction, being less complex, do not. — Daniel J. Levitin

The literary fairy tale became an acceptable social symbolic form through which conventionalized motifs, characters, and plots were selected, composed, arranged, and rearranged to comment on the civilizing process and to keep alive the possibility of miraculous change and a sense of wonderment. — Jack D. Zipes

Literary theory has become a parody of science, generating its own arcane jargon. In the process, tragically, it discourages love of literature for its own sake. — Nancy Pearcey

Of course I know that the twins are only words on a page, and I'm certainly not the sort of writer who talks to his characters or harbours any illusions about the creative process. But at the same time, I think it's juvenile and arrogant when literary writers compulsively remind their readers that the characters aren't real. People know that already. The challenge is to make an intelligent reader suspend disbelief, to seduce them into the reality of a narrative. — Michel Faber

The view of life adopted by these people, my literary associates, was that generally speaking life is a process of development in the course of which the most important role is played by us, the thinkers; and that among the thinkers it is we, the artists and poets, who have the most influence. Our vocation is to educate people. In order to avoid being confronted by the obvious question - 'What do I know and what have I got to teach? — Leo Tolstoy

In 1941, Dorothy L. Sayers provided a detailed analysis of that creative process in The Mind of the Maker. She developed the relevance of the imago Dei for understanding artistic creation in explicitly trinitarian terms. In every act of creation there is a controlling idea (the Father), the energy which incarnates that idea through craftsmanship in some medium (the Son), and the power to create a response in the reader (the Spirit). These three, while separate in identity, are yet one act of creation. So the ancient credal statements about the Trinity are factual claims about the mind of the maker created in his image. Sayers delves into the numerous literary examples, in what is one of the most fascinating accounts ever written both of the nature of literature and of the imago Dei. While some readers may feel she has a tendency to take a good idea too far, The Mind of the Maker remains an indispensable classic of Christian poetics. — Leland Ryken

What I like most about the process of literary creation is gathering mundane facts and concepts, then clothing them with the ornate jewels and fine garments of imagination and fantasy, weaving a tale on the glittering edge of possibility. — Gregory Hamilton

The Stetson passage is an allusion to Frazer theory in The Golden Bough that religion originated as agricultural engineering. Through a grotesque process of literalization, all of the dying gods and heroes in The Golden Bough, along with Christ and the Fisher King, are transferred from mythic to modern consciousness ( Frazer himself was an unabashed positivist) to be made explicable in scientific terms as fertilizer. — Jewel Spears Brooker