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.
GEORGE SAUNDERSI’m fascinated with actors, and I’ve never quite understood the process.
More George Saunders Quotes
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I read Rand and thought, “I want to be one of the earth movers, the scientific people who power the world. I don’t want to be one of these lisping liberal artsy leeches.” So I was working against my actual abilities.
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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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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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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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When somebody you’ve known for 20 years, and with whom you have a full context, winks at you or whatever, it can be huge. I think in a sense what you’re trying to re-create in fiction is that.
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Whenever you talk about writing I think you have to remember that it all has a big question mark over it – every word has a big question mark over it.
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…There is no end to the making and selling of things there is no end to the making and selling of things there is no end… Man, it occurs to me, is a joyful, buying-and-selling piece of work. I have been wrong, dead wrong, when I’ve decried consumerism.
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I was a big and un-ironic fan of Dear Abby when I was a kid in Chicago. I think I sort of internalized her. So I have this inner Abby: cranky, proper, folksy yet scathing, with a beehive hairdo. But that’s my issue.
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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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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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I think kindness is a sort of gateway virtue – having that simple aspiration can get you into deep water very quickly – in a good way.
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I tend to foster drama via bleakness. If I want the reader to feel sympathy for a character, I cleave the character in half, on his birthday. And then it starts raining. And he’s made of sugar.
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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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Positive human action is not only possible, but pervasive; human beings can improve and choose light and so on. And this is all happening.
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Success makes opportunities and so many of those “opportunities” are actually exemptions – from hardship, from unfriendliness, from struggle.
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You can say you’re a liberal and everybody laughs and it’s a good time.
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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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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.
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…smile first, then speak.
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Monologue is the most honest way to represent human beings.
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You can see a whole book as a series of creating an expectation and then delivering a skew on that expectation so it’s not totally satisfied.
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Whatever you love, that will be an influence. It just will. So in effect the young writer’s job is: go out and find some stuff to love.
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Compassion doesn’t have to be weak or enabling; it can also be quite bold.
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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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I would kind of, you know, go stand next to some unlucky guy and say eventually, Hi, I’m George. You know, I’m with The New Yorker. I’m a liberal. I’m somewhat left of Gandhi. Do you want to talk? And, you know, they always did.
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We have to move toward specificity, intelligence, facts, proof, and mutual affection. What I think people have to do now is be very, very assertive about the utter essentiality of intellectual undertakings.
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