I understand what something short should be like. I understand beauty in that form. If I start extending, somehow I kind of lose my bearings.
GEORGE SAUNDERSMaybe 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.
More George Saunders Quotes
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There’s this de facto assumption that for something to have value, it has to be economically self-supporting – which imposes a very low ceiling on a culture.
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Developing our sympathetic compassion is not only possible but the only reason for us to be here on earth.
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When you talk about a reader being emotionally moved, a feeling of empathy, I think that comes out of that line-by-line respect for reader. That’s actually where it all comes from.
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The other thing that’s useful for me is this notion of the absolute versus the relative:if we walk out and it’s a beautiful morning, it’s only a beautiful morning because we don’t have a broken leg or hemorrhoids or something.
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Since, according to me, your life is going to be a gradual process of becoming kinder and more loving: Hurry up. Speed it along. Start right now.
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I tend to foster drama via bleakness. If I want the reader to feel sympathy for a character, I cleave the character in half, on his birthday. And then it starts raining. And he’s made of sugar.
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Our first responsibility in all things is to preserve our goodness of heart – then and only then act.
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Early on, a story’s meaning and rationale seem pretty obvious, but then, as I write it, I realize that I know the meaning/rationale too well, which means that the reader will also know it – and so things have to be ramped up.
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My idea about collections is that you write as hard as you can for some period and what you’re really doing during that time is hyper-focusing on the individual pieces – trying to make each one sit up and really do some surprising work.
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I’m not thinking much about overall themes or preoccupations or anything like that. Instead I’m just trusting that, if I’m working hard, various notions and riffs and motifs and so on are very naturally suffusing the stories and the resulting book.
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I love story-writing because I can (more or less, on occasion) actually DO it. That’s really the truth. I like the idea that a story is sort of a site for making cool language effects – a site for celebrating language, and, therefore, the world.
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I actually believe that a lot of what people call originality has to do with persistence in the craft.
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With nonfiction, I go in trying to be really honest about what my preconceptions are.
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Whenever you talk about writing I think you have to remember that it all has a big question mark over it – every word has a big question mark over it.
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An artist’s job is to be interested in things as they are.
GEORGE SAUNDERS