Writing From George Orwell Quotes & Sayings

A scrupulous writer, in every sentence that he writes, will ask himself at least four questions, thus: 1. What am I trying to say? 2. What words will express it? 3. What image or idiom will make it clearer? 4. Is this image fresh enough to have an effect? — George Orwell

It is bound to be a failure, every book is a failure, but I do know with some clarity what kind of book I want to write. — George Orwell

If people cannot write well, they cannot think well, and if they cannot think well, others will do their thinking for them. — George Orwell

[You write out of the] desire to seem clever, to be talked about, to be remembered after death, etc., etc., etc. It is humbug to pretend this is not a motive and a strong one. — George Orwell

For the first time in my life I took to writing things on walls. The passage-ways of several smart restaurants had ' Visca P.O.U.M.!' scrawled on them as large as I could write it. All the while, though I was technically in hiding, I could not feel myself in danger. The whole thing seemed too absurd. I had the ineradicable English belief that they cannot arrest you unless you have committed a crime. It is a most dangerous belief to have during a political pogrom. — George Orwell

Never use the passive where you can use the active. — George Orwell

His importance to the century just past, and therefore his status as a figure in history as well as in literature, derives from the extraordinary salience of the subjects he 'took on,' and stayed with, and never abandoned. As a consequence, we commonly use the term 'Orwellian' in one of two ways. To describe a state of affairs as 'Orwellian' is to imply crushing tyranny and fear and conformism. To describe a piece of writing as 'Orwellian' is to recognize that human resistance to these terrors is unquenchable. Not bad for one short lifetime. — Christopher Hitchens

All writers are vain, selfish, and lazy, and at the very bottom of their motives there lies a mystery. Writing a book is a horrible, exhausting struggle, like a long bout of some painful illness. One would never undertake such a thing if one were not driven on by some demon whom one can neither resist nor understand. For all one knows that demon is simply the same instinct that makes a baby squall for attention. And yet it is also true that one can write nothing readable unless one constantly struggles to efface one's own personality. Good prose is like a windowpane. — George Orwell

I do not think one can assess a writer's motives without knowing something of his early development. His subject matter will be determined by the age he lives in ... but before he ever begins to write he will have acquired an emotional attitude from which he will never completely escape. — George Orwell

Literature is doomed if liberty of thought perishes. — George Orwell

Winston worked in the RECORDS DEPARTMENT (a single branch of the Ministry of Truth) editing and writing for The Times. He dictated into a machine called a Speakwrite. Winston would receive articles or news-items which for one reason or another it was thought necessary to alter, or, in Newspeak, rectify. If, for example, the Ministry of Plenty forecast a surplus, and in reality the result was grossly less, Winston's job was to change previous versions so the old version would agree with the new one. — George Orwell

In certain kinds of writing, particularly in art criticism and literary criticism, it is normal to come across long passages which are almost completely lacking in meaning. — George Orwell

The four great motives for writing prose are sheer egoism, esthetic enthusiasm, historical impulse, and political purpose. — George Orwell

Political writing in our time consists almost entirely of prefabricated phrases bolted together like the pieces of a child's Meccano set. It is the unavoidable result of self-censorship. To write in plain, vigorous language one has to think fearlessly, and if one thinks fearlessly one cannot be politically orthodox. — George Orwell

By the time you have perfected any style of writing, you have always outgrown it. — George Orwell

Is not anyone with any degree of mental honesty conscious of telling lies all day long, both in talking and writing, simply because lies will fall into artistic shape when truth will not? — George Orwell

If you have no money, men won't care for you, women won't love you; won't, that is, care for you or love you the last little bit that matters. — George Orwell

To write or even speak English is not a science but an art. There are no reliable words. Whoever writes English is involved in a struggle that never lets up even for a sentence. He is struggling against vagueness, against obscurity, against the lure of the decorative adjective, against the encroachment of Latin and Greek, and, above all, against the worn-out phrases and dead metaphors with which the language is cluttered up. — George Orwell

Threats to freedom of speech, writing and action, though often trivial in isolation, are cumulative in their effect and, unless checked, lead to a general disrespect for the rights of the citizen. — George Orwell

By using stale metaphors, similes and idioms, you save much mental effort, at the cost of leaving your meaning vague, not only for your reader but for yourself. — George Orwell

Sheer egoism ... Writers share this characteristic with scientists, artists, politicians, lawyers, soldiers, successful businessmen - in short, with the whole top crust of humanity. — George Orwell

He drove his mind into the abyss where poetry is written. — George Orwell

From ... the age of five or six, I knew that when I grew up I should be a writer ... I tried to abandon this idea, but I did so with the consciousness that I was outraging my true nature and that sooner or later I should have to settle down and write books. — George Orwell

Then Snowball (for it was Snowball who was best at writing) took a brush between the two knuckles of his trotter, painted out MANOR FARM from the top bar of the gate and in its place painted ANIMAL FARM. This was to be the name of the farm from now onwards. — George Orwell

Gordon eyed them with inert hatred. At this moment he hated all books, and novels most of all. Horrible to think of all that soggy, half-baked trash massed together in one place. — George Orwell

Now that I have made this catalogue of swindles and perversions, let me give another example of the kind of writing that they lead to. This time it must of its nature be an imaginary one. I am going to translate a passage of good English into modern English of the worst sort. Here is a well-known verse from Ecclesiastes:
I returned and saw under the sun, that the race is not to the swift, nor the battle to the strong, neither yet bread to the wise, nor yet riches to men of understanding, nor yet favour to men of skill; but time and chance happeneth to them all.
Here it is in modern English:
Objective considerations of contemporary phenomena compel the conclusion that success or failure in competitive activities exhibits no tendency to be commensurate with innate capacity, but that a considerable element of the unpredictable must invariably be taken into account. — George Orwell

There is a minority of gifted, willfuf people who are determined to live their own lives to the end, and writers belong in this class. — George Orwell

Writing a novel is agony. — George Orwell

Man's greatest drive is not love or hate but to change another person's writing. — George Orwell

I do not wish to comment on the work; if it does not speak for itself, it is a failure. — George Orwell

The majority of pacifists either belong to obscure religious sects or are simply humanitarians who object to taking life and prefer not to follow their thoughts beyond that point. But there is a minority of intellectual pacifists, whose real though unacknowledged motive appears to be hatred of western democracy and admiration for totalitarianism. Pacifist propaganda usually boils down to saying that one side is as bad as the other, but if one looks closely at the writing of the younger intellectual pacifists, one finds that they do not by any means express impartial disapproval but are directed almost entirely against Britain and the United States ... — George Orwell

His style as a writer places him in the category of the immortals, and his courage as a critic outlives the bitter battles in which he engaged. As a result, we use the word 'Orwellian' in two senses: The first describes a nightmare state, a dystopia of untrammelled power; the second describes the human qualities that are always ranged in resistance to such regimes, and that may be more potent and durable than we sometimes dare to think. — Christopher Hitchens

Money, money, all is money! Could you write even a penny novelette without money to put heart in you? — George Orwell

Whitman himself "accepted" a great deal that his contemporaries found unmentionable. For he is not only writing of the prairie, he also wanders through the city and notes the shattered skull of the suicide, the "grey sick faces of onanists," etc., etc. But unquestionably our own age, at any rate in Western Europe, is less healthy and less hopeful than the age in which Whitman was writing. Unlike Whitman, we live in a shrinking world. The "democratic vistas" have ended in barbed wire. There is less feeling of creation and growth, less and less emphasis on the cradle, endlessly rocking, more and more emphasis on the teapot, endlessly stewing. To accept civilisation as it is practically means accepting decay. It has ceased to be a strenuous attitude and become a passive attitude - even "decadent," if that word means anything. — George Orwell

His eyes re-focused on the page. He discovered that while he sat helplessly musing he had also been writing, as though by automatic action. And it was no longer the same cramped, awkward handwriting as before. His pen had slid voluptuously over the smooth paper, printing in large neat capitals
DOWN WITH BIG BROTHER
DOWN WITH BIG BROTHER
DOWN WITH BIG BROTHER
DOWN WITH BIG BROTHER
DOWN WITH BIG BROTHER — George Orwell

Each of these passages has faults of its own, but, quite apart from avoidable ugliness, two qualities are common to all of them. The first is staleness of imagery; the other is lack of precision. The writer either has a meaning and cannot express it, or he inadvertently says something else, or he is almost indifferent as to whether his words mean anything or not. This mixture of vagueness and sheer incompetence is the most marked characteristic of modern English prose, and especially of any kind of political writing. As soon as certain topics are raised, the concrete melts into the abstract and no one seems able to think of turns of speech that are not hackneyed: prose consists less and less of words chosen for the sake of their meaning, and more and more of phrases tacked together like the sections of a prefabricated hen-house. — George Orwell

He was conscious of nothing except the blankness of the page in front of him, the itching of the skin above his ankle, the blaring of the music, and a slight booziness caused by the gin. — George Orwell

There is only one way to make money at writing, and that is to marry a publisher's daughter. — George Orwell

Aesthetic enthusiasm. Perception of beauty in the external world, or, on the other hand, in words and their right arrangement. Pleasure in the impact of one sound on another, in the firmness of good prose or the rhythm of a good story. Desire to share an experience which one feels is valuable and ought not to be missed. The aesthetic motive is very feeble in a lot of writers, but even a pamphleteer or writer of textbooks will have pet words and phrases which appeal to him for non-utilitarian reasons; or he may feel strongly about typography, width of margins, etc. Above the level of a railway guide, no book is quite free from aesthetic considerations. — George Orwell

Good novel are written by people who are not frightened. — George Orwell

Political speech and writing are largely the defence of the indefensible. Things like the continuance of British rule in India, the Russian purges and deportations, the dropping of the atom bombs on Japan, can indeed be defended, but only by arguments which are too brutal for most people to face, and which do not square with the professed aims of political parties. Thus political language has to consist largely of euphemism, question-begging and sheer cloudy vagueness. — George Orwell

For weeks past he had been making ready for this moment, and it had never crossed his mind that anything would be needed except courage. The actual writing would be easy. All he had to do was to transfer to paper the interminable restless monologue that had been running inside his head, literally for years. — George Orwell

I read all the time so it's difficult to say who my all-time favourites are. One is George Orwell, because he makes political writing so simple a child could understand it. — Melvin Burgess

Good prose should be transparent, like a window pane. — George Orwell