All along, my mantra was: Don’t write unless it contributes to the emotion, and do anything you do in service of the emotion only.
GEORGE SAUNDERSI’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.
More George Saunders Quotes
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I love story-writing because I can (more or less, on occasion) actually DO it. That’s really the truth. I like the idea that a story is sort of a site for making cool language effects – a site for celebrating language, and, therefore, the world.
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I was trained in seismic prospecting. We’d drill a deep hole and put dynamite in the bottom and blow it up remotely, which would give you a cross-sectional picture of the subsurface, which tells you where to drill.
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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 getting anxious, I’m getting more manic. Now, I’m an extreme case because I’m old and I’m overdoing it. But still, it’s really interesting that I can actually feel a change in my neurochemistry from this interaction with the technology.
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If you’re going to make an emotional connection with somebody, whether it’s in the story or in the world, there’s a certain amount of self-acceptance that is required.
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For me, when I’m coming up to a place where I have to make somebody up, it’s almost like driving and taking your hands off the wheel.
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I think people have come to expect that in artistic representation; that every work of art should be a work of extravagant hope.
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Since, according to me, your life is going to be a gradual process of becoming kinder and more loving: Hurry up. Speed it along. Start right now.
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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’m fascinated with actors, and I’ve never quite understood the process.
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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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When you’re embarking on a piece of writing, the anxiety is just too much, especially when you’re young and you’re trying to figure out if this is your thing or not. You feel like, “if I don’t write a good story, I gotta get going to law school!”
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Our first responsibility in all things is to preserve our goodness of heart – then and only then act.
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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 don’t feel like I have the intelligence to really inhabit a consistently high level of prose.
GEORGE SAUNDERS