Quote

All storytelling is kind of that - there's a bit of text that you put pressure on that spits out some desire that a character has and then you follow that. The other part is that every scene raises an expectation in the reader's mind - that's part of its job is to make you look in and be curious.

George Saunders

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George Saunders
Age: 65
Born: 1958
Born: December 2
Essayist
Fantasy Author
Geological Engineer
Geophysicist
Journalist
Novelist
Professor
Prosaist
Short Story Writer
Teacher
Amarillo
Texas
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Expectations
Character
Pressure
Look
Follow
Spits
Looks
Reader
Spit
Every
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Bits
Text
Mind
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Curious
Make
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More quotes by George Saunders

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It's a time when a lot of principle virtues are being tested. Do we still believe in the truth? Do we still believe in empathy? Do we still believe the protection of the weakest among us? These are yes or no questions, but the means of communication is all tied up with those virtues and you can't abandon those virtues as you pursue them.
George Saunders
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The main thing a childhood in the Church did for me, I think, was set up the universe as a moral system. Once you've seen it that way, it always seems that way.
George Saunders
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I sometimes imagine a great writer as a sort of God-surrogate: the writer is doing his or her human-best to emulate what God might think of is, if God was inclined to observe some human beings and present their activities in the form of a narrative.
George Saunders
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Some of Buddhist texts say that, in the moment after you die, you think of New Jersey and you go to New Jersey or you think of 1820 and you go to 1820. Also, all your sort of inner-symbology gets writ large. So, if you're a Christian, you see Christian iconography.
George Saunders
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Maybe you could even think 100,000 people are inside each human being. And you drop a novel on that person, and a certain number of those sub-people come alive or get reenergized for some finite time.
George Saunders
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I came to writing kind of late. I was an engineer, and the one thing I've learned is that you have to steer a project in the direction of the maximum fun for you. You could say lively energy, or you have to try to be intrigued. Basically, if you were a musician and you were playing joylessly, nobody would want to hear you.
George Saunders
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All traditions are also full of meanness for the sake of meanness.
George Saunders
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My stories, I can understand them as a little toy that you wind up and you put it on the floor and it just goes under the coach. That I get. Beyond that, I'm a little lost.
George Saunders
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That's one of the reasons I take a lot of consolation in fiction. You have years to work on it. I think that allows you to reach for the best part of your reader instead of a lot of the internet stuff, in which you're kind of reaching for the worst or the most shallow part of your reader.
George Saunders
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Toni Morrison seems to have a lot of faith in people - that's what I mean by gentle power.
George Saunders
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I'm finding, as I get older, that I'm not much of a believer in redemption. I mean, I believe in redemption in real life - redemption does happen, and it's cool when it does - but I find myself getting leery of my desire for it in stories (especially my own).
George Saunders
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In real life, when you have an emotional experience, it's never just because of the thing that's been said. There's the backstory. It's like [Ernest] Hemingway's iceberg theory - the current emotional moment is the tip of the iceberg and all of the past is the seven-eighths of the iceberg that's underwater.
George Saunders
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Positive human action is not only possible, but pervasive human beings can improve and choose light and so on. And this is all happening.
George Saunders
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In the Buddhist texts, some of them say, when you die, basically that wild horse gets cut loose, and the mind is incredibly powerful and expansive, omniscient and can go anywhere and see anything, but - and this is the catch - it's colored by the habits of thought we made in life.
George Saunders
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There's not a lot of whimsicality in the form, not a lot of indulgence allowed. Like when I was younger, I would sometimes go, Oh, every other section will be narrated by a chair. Or, It will be a double helix shape! That never really worked.
George Saunders
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Stories, as much as we like to talk about them, retrospectively, as emanations of theme or worldview or intention, occur primarily as technical objects when they're being written. Or at least they do for me. They're the result of thousands of decisions made at speed during revision.
George Saunders
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It's one thing to be a perfectionist when you're alone, but when you're trying to make it work in an ensemble that's a whole different deal.
George Saunders
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For me, the game would be to assume a very intelligent reader who can extrapolate a lot from a little. And that's become my definition of art to get that pitch just right, where I can put a hint on page three, and the reader's ears go up a bit, as opposed to dropping it all on the first page.
George Saunders
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[Lincoln in the Bardo] is not a long book. And that meant I could obsess over it and live in it both backwards and forwards and hyper-control everything.
George Saunders
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Compassion doesn't have to be weak or enabling it can also be quite bold.
George Saunders