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.
GEORGE SAUNDERSAs a writer I’m essentially just trying to impersonate a first-time reader, who picks up the story and has to decide, at every point, whether to keep going.
More George Saunders Quotes
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In the moment of reading, the writer comes up to the surface and the reader comes up to the surface and they kiss, like two fish. That actually does happen.
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One way or the other; whether you get it or don’t get it, there’s a cost. That’s just basic responsibility, to admit that there’s a cost. And the bad karma is when you pretend that the thing is free.
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And I have finally realized that, you know, it’s not a given that my lifespan will accommodate my writing aspirations. It could be that it would take me 12 more books at six years each to get it – which means I would have to live to be 126. Which I fully intend to do, of course.
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If you think of a work of fiction as a kind of scale model of the world, then the positive valences – where things turn out better than you thought they would – ought to be in there somewhere, too.
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I think about how I conceptualize the audience. The trick is that they’ve got to be smarter and more worldly than me. So as I’m revising, I’m keeping that in mind. I cannot condescend, even a little bit. Every single choice that I make is motivated by that.
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If I can be more efficient, I’m actually being more respectful to the reader, which then implies a greater intimacy with the reader.
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“Kindness” can mean a lot of different things. In this case, I felt I had to present his [Donald Trump’s] supporters in as fair a light as possible – many of them hadn’t been interviewed before and that entailed some interviewer-courtesy in the editing and so on.
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I read Rand and thought, “I want to be one of the earth movers, the scientific people who power the world. I don’t want to be one of these lisping liberal artsy leeches.” So I was working against my actual abilities.
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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.
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The book says [Lincoln in the Bardo],”I really need this sci-fi device of a ghost inhabiting another person.” You say okay kind of begrudgingly. So the structure seemed informed by need and efficiency.
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…smile first, then speak.
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Goodbye. I’m leaving because I’m bored.
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I think kindness is a sort of gateway virtue – having that simple aspiration can get you into deep water very quickly – in a good way.
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I would kind of, you know, go stand next to some unlucky guy and say eventually, Hi, I’m George. You know, I’m with The New Yorker. I’m a liberal. I’m somewhat left of Gandhi. Do you want to talk? And, you know, they always did.
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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.
GEORGE SAUNDERS