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I've always wanted to write energetic, atypical sentences, i.e., sentences that were not normal or bland.
George Saunders
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George Saunders
Age: 66
Born: 1958
Born: December 2
Essayist
Fantasy Author
Geological Engineer
Geophysicist
Journalist
Novelist
Professor
Prosaist
Short Story Writer
Teacher
Amarillo
Texas
Write
Wanted
Writing
Always
Atypical
Bland
Energetic
Sentences
Normal
More quotes by George Saunders
I don't mind being criticized intelligently although I don't love it.
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I was a big and un-ironic fan of Dear Abby when I was a kid in Chicago. I think I sort of internalized her. So I have this inner Abby: cranky, proper, folksy yet scathing, with a beehive hairdo. But that's my issue.
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I've had that my whole career. People were always hedging around the question of: Why are you so dark? What happened to you?
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It's on us to investigate ourselves for any lingering sense that we are 'giving' equality. We are not. It is already given. And not by us.
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Working with language is a means by which we can identify the bullshit within ourselves (and others).
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I attended Catholic school. We received a great education from the nuns. ... Also, guilt. Guilt and a feeling of never being satisfied with what you've done. And a sense that you are inadequate and a big phony. All useful for a writer. I'm always being edited by my inner nun.
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I often wonder if there are certain areas of real life that are roped off, with a sign saying, Art, don't come in here. But that's maybe a deeper question.
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Every writer has to find the thing to keep her eye on about which she has strong opinions. That's of course deeply personal, but the nice thing is that it has to do with joy rather than fear. It has to do with you. If you're funny, your method will be to try to be funnier. Which again is empowering I think.
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That underscored this idea that when we're reading a book or writing a book, you're in an act of co-creation. The reader and the writer are both trying to dress up and present their best selves and then there's that moment, when suddenly, as a reader, you're not exactly you anymore, and likewise, as a writer, you're not really you.
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When something really bad is going on in a culture, the average guy doesn't see it. He can't. He's average and is surrounded by and immersed in the cant and discourse of the status quo.
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The writer, in order to proceed, is theoretically trying to predict where his complex skein of language and image has left his reader, who he has likely never met and who is actually thousands of readers.
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Success is like a mountain in front of you that keeps growing. If you're not careful, it will take up your whole life.
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I think this is the other big issue that is not going away: Do we really believe that bit in the Constitution or not? I think we do.
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I knew if I evoked that stuff too easily or gratuitously, as a way of assuaging my fears of not being edgy or whatever, the writing would fall apart. This book [Lincoln in the Bardo] was going to have to have some earnestness in it.
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I have a lot of theories about the beneficial effects of fiction, but I'm always trying to get away from them a little bit.
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One of the inspiring things about Susan Sarandon career is that there's a quality of real fearlessness in it - you seem to be in it for the challenge and the experience.
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Equality has always been extant but some of us just didn't know it.
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I think the biggest single issue is income inequity and what this is doing to the good old American dream. This and corporatism - this delusional idea that shareholder value outweighs everything else.
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The millions or billions of micro decisions that you're going to make, that's what will determine who you are as a writer, not you deciding in advance.
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Character is that sum total of moments we can't explain.
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