Maybe 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.
GEORGE SAUNDERSWhy were we put here, so inclined to love, when end of our story = death? That harsh. That cruel. Do not like.
More George Saunders Quotes
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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 greatest thing about writing a book is that at first it’s all inchoate, but the more you work on it, the more the book teaches you its internal rules.
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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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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 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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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 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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My stories, I can understand them as a little toy that you wind up and you put it on the floor and it just goes under the coach. That I get. Beyond that, I’m a little lost.
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We’re in the transition between birth and death. But the one that people often know about is the transition between the moment of death and whatever comes next, so reincarnation or heaven or hell.
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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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Developing our sympathetic compassion is not only possible but the only reason for us to be here on earth.
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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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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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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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I’ve always wanted to write energetic, atypical sentences, i.e., sentences that were not normal or bland.
GEORGE SAUNDERS