Every step was a victory. He had to remember that.
GEORGE SAUNDERSI have nothing. My model is I have nothing figured out, and I’m starting with some little nugget and hoping that it will talk back to me enough to let it grow.
More George Saunders Quotes
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With nonfiction, I go in trying to be really honest about what my preconceptions are.
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Why were we put here, so inclined to love, when end of our story = death? That harsh. That cruel. Do not like.
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All traditions are also full of meanness for the sake of meanness.
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When we talk about adversity, this is the moment when character really gets tested. When things aren’t going the way you want and you can’t see anyway that they’re going to go the way you want. That’s kind of when those old virtues really become valuable and vulnerable also.
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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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I think it was a big revelation to me earlier in my life that people who appear to be evil are actually not. In other words, nobody wakes up in the morning and says, “Yuck, yuck, yuck, I’m gonna be evil.”
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The artist’s job, I think, is to be a conduit for mystery. To intuit it, and recognize that the story-germ has some inherent mystery in it, and sort of midwife that mystery into the story in such a way that it isn’t damaged in the process, and may even get heightened or refined.
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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 always describe writing a story as throwing bowling pins in the air and then catching them.
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Someone told me once – I mean I said, “Is it ok that I don’t really know what the three-act structure is?” And he said, “It’s basically: Act 1: a guy climbs up a tree; Act 2: people come and throw stuff at him; Act 3: he gets down.”
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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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In my case, when I am trying to be “kind” I often default in a sort of toothless loving-all stance that is, actually, not kind, because it is not truthful.
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If a writer understands his work as something that originates with him but then, with any luck, gets away from him, then what he needs is someone who can grasp the potential of the piece and lead him to that higher ground.
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We have to move toward specificity, intelligence, facts, proof, and mutual affection. What I think people have to do now is be very, very assertive about the utter essentiality of intellectual undertakings.
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I heard Zen teacher one time talking about abortion, and he was saying the way that abortion makes bad karma is any time the person involved pretends that there’s not a cost to the choice.
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