It was like either: (A) I was a terrible guy who was knowingly doing this rotten thing over and over, or (B) it wasn’t so rotten, really, just normal, and the way to confirm it was normal was to keep doing it, over and over.
GEORGE SAUNDERSI actually believe that a lot of what people call originality has to do with persistence in the craft.
More George Saunders Quotes
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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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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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The scariest thought in the world is that someday I’ll wake up and realize I’ve been sleepwalking through my life: underappreciating the people I love, making the same hurtful mistakes over and over, a slave to neuroses, fear, and the habitual.
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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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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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[Writing] is almost like those boats that sit really low in the water; they look kind of ugly. And then you get one of them up to 80 miles an hour and the hull comes up, and it’s a beautiful thing. I’m okay with that for myself.
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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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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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Social media sometimes feels like a vehicle for one-dimensional sniping, more than true criticism.
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When you read a short story, you come out a little more aware and a little more in love with the world around you. What I want is to have the reader come out just 6 percent more awake to the world.
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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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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 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 read to make myself feel awake.
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My idea about collections is that you write as hard as you can for some period and what you’re really doing during that time is hyper-focusing on the individual pieces – trying to make each one sit up and really do some surprising work.
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