Janet Burroway Quotes

Most writing is done between the mind and the hand, not between the hand and the page.

The mystique and the false glamour of the writing profession grow partly out of a mistaken belief that people who can express profound ideas and emotions have ideas and emotions more profound than the rest of us. It isn't so. The ability to express is a special gift with a special craft to support it and is spread fairly equally among the profound, the shallow, and the mediocre.

In literature only trouble is interesting. It takes trouble to turn the great themes of life into a story: birth, love, sex, work, and death.

The human desire to know why is as powerful as the desire to know what happened next, and it is a desire of a higher order.

The only justification for writing a novel is that it should be wonderful. Adequate is inadequate.

What matters is not publication or success (success is bad for your prose) but the practice of the imaginative act. Our damaged values depend on it.

The sensation of writing a book is the sensation of spinning, blinded by love and daring. It is the sensation of rearing and peering from the bent tip of a grass blade, looking for a route.

Reject without regret whatever seems on reflection wrongheaded, dull, destructive, or irrelevant to your vision. It’s just as important to be able to discriminate between helpful and unhelpful criticism as it is to be able to write.

Part of the trouble is that I've never properly understood that some disasters accumulate, that they don't all land like a child out of an apple tree.

Right now-whether you're in writing courses getting "paid" in credit for writing, or burdened and distracted by earning a living and changing diapers-figure out how to make writing an integral part of your life. Publication is good, and gives you the courage to go on, but publication is not as important as the act of writing.

In Literature, only trouble is interesting.

Good girls like myself need subversion. Being solemn, I aspire to comedy. Being a novelist, I aspire to the musical. Being organized, I aspire to luminous chaos. Loving the power of grammar and the fine distinctions of language, I seek the part of the mind I didn't know was there, the part 'sheer,' 'no-manfathomed,' 'cliffs of fall.

I sit and pass judgment on myself: this is dull, this is unclear, this is insignificant: ergo I am dull, I am unclear, I am insignificant.

What is the pattern of change?

If character is the foreground of fiction, setting is the background, and as in a painting's composition, the foreground may be in harmony or in conflict with the background.