My go-to default is to try to be nice, which I feel does less harm in the long run than trying to be, say, assertive. If I am nice and maybe too passive, I find that easier to live with.
GEORGE SAUNDERSWith nonfiction, I go in trying to be really honest about what my preconceptions are.
More George Saunders Quotes
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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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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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I always describe writing a story as throwing bowling pins in the air and then catching them.
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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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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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One of the ways that we cope with anxiety is by over planning and over controlling. If we know where it’s going to, we can just relax and do it.
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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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I’m a big lover of America. I love the people, but also the weird berms, the strange little high schools tucked away in different places, and just the whole geography and the psychological apparatus of Americans.
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Chekhov – shall I be blunt? – is the greatest short story writer who ever lived.
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It seems to me that there are certain thoughts and vignettes and attitudes that I have always had the desire to represent.
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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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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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I have finally realized that, you know, it’s not a given that my lifespan will accommodate my writing aspirations.
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I had an experience a few years ago where I was on a plane in which one of the engines went out. I couldn’t even remember my name. I was just repeating the word no over and over.
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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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