The one thing fiction and non-fiction writing have in common for me is that sense of trying to get the sentences to be minimal but at the same time be a little overfull – to encourage them to do a kind of poetic work.
GEORGE SAUNDERSWhen 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.
More George Saunders Quotes
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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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I often wonder if there are certain areas of real life that are roped off, with a sign saying, “Art, don’t come in here.” But that’s maybe a deeper question.
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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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So, good news/bad news: good news that I’m progressing; bad news that life is short and art is long.
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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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I 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.
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And the brevity is part of the challenge. I like stories because I get them – I know how to make beauty, or something like beauty, in that mode.
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As a fiction writer, one of things you learn is God lives in specificity. You know, human kindness is increased as we pursue specificity.
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I read to make myself feel awake.
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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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Your first responsibility is to yourself and to your own goodness of heart.
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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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I think that fiction has a part to play in urging us, as a species, toward compassion.
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In the absolute sense – kind of from the God’s-eye view – God might feel like, “I made this thing that has all of that in it, all the horror and all the beauty.”
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