Anne Lamott Writ Quotations

My father really taught me that you really develop the habit of writing and you sit down at the same time every day, you don't wait for inspiration.

I have been somebody who has not written a great deal about the truth of my family's life.

My experience as a writer is that you really do write seven and eight pages to find the paragraph you were after all along.

When you're conscious and writing from a place of insight and simplicity and real caring about the truth, you have the ability to throw the lights on for your reader.

Write regularly, whether you feel like writing or not, and whether you think what you're writing is any good or not.

There is a door we all want to walk through and writing can help you find it and open it.

I honestly think that in order to be a writer you have to learn to be reverent. If not, why are you writing? Why are you here?

Write straight into the emotional center of things. Write toward vulnerability. Don't worry about appearing sentimental. Worry about being unavailable; worry about being absent or fraudulent.

If you are hoping to find your self-worth and fulfillment in other peoples' opinion of your writing, you will never find it.

Good writing is about telling the truth.

I didn't write about my mother much in the third year after she died. I was still trying to get my argument straight: When her friends or our relatives wondered why I was still so hard on her, I could really lay out the case for what it had been like to be raised by someone who had loathed herself, her husband, even her own name.

Life does not seem to present itself to me for my convenience, to box itself up nicely so I can write about it with wisdom and a point to make before putting it on a shelf somewhere.

I am not writing to try and convert people to fundamental Christianity. I am just trying to share my experience, strength and hope, that someone who is as messed up and neurotic and scarred and scared can be fully accepted by our dear Lord, no questions asked.

You try to sit down at approximately the same time every day. This is how you train your unconscious to kick in for you creatively. ... You put a piece of paper in the typewriter, or you turn on your computer and bring up the right file. ... You begin rocking, just a little at first, and then like a huge autistic child. ... Then your mental illnesses arrive at the desk like your sickest, most secretive relatives. And they pull up chairs in a semicircle around the computer, and they try to be quiet but you know they are there with their weird coppery breath, leering at you behind your back.

The real payoff is the writing itself, that a day when you have gotten your work done is a good day, that total dedication is the point.

I write because writing is the gift God has given me to help people in the world.

Just don't pretend you know more about your characters than they do, because you don't. Stay open to them. It's teatime and all the dolls are at the table. Listen. It's that simple.

Plot springs from character... I've always sort of believed that these people inside me- these characters- know who they are and what they're about and what happens, and they need me to help get it down on paper because they don't type.

Needless to say, there was no one around remotely fitting the description of a normal person: I was at a writing conference.

I'm drawn to almost any piece of writing with the words 'divine love' and 'impeachment' in the first sentence. But I know the word 'divine' makes many progressive people run screaming for their cute little lives, and so one hesitates to use it.

I know some very great writers, writers you love who write beautifully and have made a great deal of money, and not one of them sits down routinely feeling wildly enthusiastic and confident. Not one of them writes elegant first drafts. All right, one of them does, but we do not like her very much. We do not think that she has a rich inner life or that God likes her or can even stand her. (Although when I mentioned this to my priest friend Tom, he said that you can safely assume you’ve created God in your own image when it turns out that God hates all the same people you do.)

There are a lot of us, some published, some not, who think the literary life is the loveliest one possible, this life of reading and writing and corresponding. We think this life is nearly ideal.

For some of us, good books and beautiful writing are our ultimate solace, even more comforting than exquisite food.

Don’t underestimate this gift of finding a place in the writing world: if you really work at describing creatively on paper the truth as you understand it, as you have experienced it, with the people or material who are in you, who are asking that you help them get written, you will come to a secret feeling of honor.

Being a writer is part of a noble tradition, as is being a musician – the last egalitarian and open associations. No matter what happens in terms of fame and fortune, dedication to writing is a marching-step forward from where you were before, when you didn’t care about reaching out to the world, when you weren’t hoping to contribute, when you were just standing there doing some job into which you had fallen.

We write to expose the unexposed. Most human beings are dedicated to keeping that one door shut. But the writer's job is to see what's behind it, to see the bleak unspeakable stuff, and to turn the unspeakable into words - not just into any words but if we can, into rhythm and blues. You can't do this without discovering your own true voice, and you can't find your true voice and peer behind the door and report honestly and clearly to us if your parents are reading over your shoulder.

Bird by bird, buddy. Just take it bird by bird.

Rituals are a good signal to your unconscious that it is time to kick in.

I don't think you have time to waste not writing because you are afraid you won't be good at it.

Over and over I feel as if my characters know who they are, and what happens to them, and where they have been and where they will go, and what they are capable of doing, but they need me to write it down for them because their handwriting is so bad.

The society to which we belong seems to be dying or is already dead. I don't mean to sound dramatic, but clearly the dark side is rising. Things could not have been more odd and frightening in the Middle Ages. But the tradition of artists will continue no matter what form the society takes. And this is another reason to write: people need us, to mirror for them and for each other without distortion-not to look around and say, 'Look at yourselves, you idiots!,' but to say, 'This is who we are.

Write as if your parents are dead.

Perfectionism means that you try desperately not to leave so much mess to clean up. But clutter and mess show us that life is being lived. Clutter is wonderfully fertile ground - you can still discover new treasures under all those piles, clean things up, edit things out, fix things, get a grip. Tidiness suggests that something is as good as it's going to get. Tidiness makes me think of held breath, of suspended animation, while writing needs to breathe and move.

You are going to have to give and give and give, or there's no reason for you to be writing. You have to give from the deepest part of yourself, and you are going to have to go on giving, and the giving is going to have to be its own reward. There is no cosmic importance to your getting something published, but there is in learning to be a giver.

You just have to keep getting out of your own way so that whatever it is that wants to be written can use you to write it.

I write everything as a wake-up call to myself and others, to anyone who may have gotten tired of hitting the snooze button.

Shirley Jackson said that a confused reader is an antagonistic reader, and I live by that. It's okay to start anywhere, and to let yourself write a big sloppy overly-detailed first draft. You just jump in, knowing that the water will be cold at first, but no one is making you swim.

If you are writing the clearest, truest words you can find and doing the best you can to understand and communicate, this will shine on paper like its own little lighthouse. Lighthouses dont go running all over an island looking for boats to save; they just stand there shining.

Dialogue that is written in dialect is very tiring to read. If you can do it brilliantly, fine. If other writers read your work and rave about your use of dialect, go for it. But be positive that you do it well, because otherwise it is a lot of work to read short stories or novels that are written in dialect. It makes our necks feel funny.

Writing can be a pretty desperate endeavor, because it is about some of our deepest needs: our need to be visible, to be heard, our need to make sense of our lives, to wake up and grow and belong. It is no wonder if we sometimes tend to take ourselves perhaps a bit too seriously.

Creative expression, whether that means writing, dancing, bird-watching, or cooking, can give a person almost everything that he or she has been searching for: enlivenment, peace, meaning, and the incalculable wealth of time spent quietly in beauty.

The best thing about being an artist, instead of a madman or someone who writes letters to the editor, is that you get to engage in satisfying work. Even if you never publish a word, you have something important to pour yourself into.

You keep working on your piece over and over, trying to get the sections and paragraphs and sentences and the whole just right, but there's a point at which you can tell you've begun hurting the work with your perfectionism. Then you have to release the work to new eyes.

This is our goal as writers, I think; to help others have this sense of--please forgive me--wonder, of seeing things anew, things that can catch us off guard, that break in on our small, bordered worlds.

You simply keep putting down one damn word after the other, as you hear them, as they come to you. You can either set brick as a laborer or as an artist.

That thing you had to force yourself to do-the actual act of writing-turns out to be the best part.

To be a good writer, you not only have to write a great deal but you have to care. You do not have to have a complicated moral philosophy. But a writer always tries, I think, to be a part of a solution, to understand a little about life and to pass this on.

Writing is how I communicate my deepest beliefs, and what I hope are helpful observations about our dual citizenship, as children of God, as regular old mixed-up, worried, flawed, precious human beings.

Becoming a writer is about becoming conscious. When you're conscious and writing from a place of insight and simplicity and real caring about the truth, you have the ability to throw the lights on for your reader. He or she will recognize his or her life and truth in what you say, in the pictures you have painted, and this decreases the terrible sense of isolation that we have all had too much of.

We are a species that needs and wants to understand who we are. Sheep lice do not seem to share this longing, which is one reason why they write so little.

For me and most of the other writers I know, writing is not rapturous. In fact, the only way I can get anything written at all is to write really, really shitty first drafts.

Writing has so much to give, so much to teach, so many surprises.

Writing is about hypnotizing yourself into believing in yourself, getting some work done, then unhypnotizing yourself and going over the material coldly.

I used to tell my writing students that they must write the books they wished they could come upon - because then the books they hungered and thirsted for would exist.

There are moments when I am writing when I think that if other people knew how I felt right now, they’d burn me at the stake for feeling so good, so full, so much intense pleasure.

Jealousy is such a direct attack on whatever measure of confidence you’ve been able to muster. But if you continue to write, you are probably going to have to deal with it, because some wonderful, dazzling successes are going to happen for some of the most awful, angry, undeserving writers you know-people who are, in other words, not you.

When what we see catches us off guard, and when we write it as realistically and openly as possible, it offers hope. You look around and say, Wow, there's that same mockingbird; there's that woman in the red hat again. The woman in the red hat is about hope because she's in it up to her neck, too, yet every day she puts on that crazy red hat and walks to town.

Writing and reading decrease our sense of isolation. It's like singing on a boat during a terrible storm at sea. You can't stop the raging storm, but singing can change the hearts and spirits of the people who are together on that ship

I don't know where to start," one [writing student] will wail. Start with your childhood, I tell them. Plug your nose and jump in, and write down all your memories as truthfully as you can. Flannery O' Connor said that anyone who has survived childhood has enough material to write for the rest of his or her life. Maybe your childhood was grim and horrible, but grim and horrible is Okay if it is well done. Don't worry about doing it well yet, though. Just get it down.

One of the gifts of being a writer is that it gives you an excuse to do things, to go places and explore. Another is that writing motivates you to look closely at life, at life as it lurches by and tramps around.

Writing takes a combination of sophistication and innocence; it takes conscience, our belief that something is beautiful because it is right.

If something inside of you is real, we will probably find it interesting, and it will probably be universal. So you must risk placing real emotion at the center of your work. Write straight into the emotional center of things. Write toward vulnerability. Risk being unliked. Tell the truth as you understand it. If you’re a writer you have a moral obligation to do this. And it is a revolutionary act—truth is always subversive.

Almost all good writing begins with terrible first efforts. You need to start somewhere. Start by getting something—anything—down on paper. What I’ve learned to do when I sit down to work on a shitty first draft is to quiet the voices in my head.

We write to expose the unexposed. If there is one door in the castle you have been told not to go through, you must. The writer's job is to turn the unspeakable into words - not just into any words, but if we can, into rhythm and blues.

We all know we're going to die; what's important is the kind of men and women we are in the face of this.

The very first thing I tell my new students on the first day of a workshop is that good writing is about telling the truth. We are a species that needs and wants to understand who we are. Sheep lice do not seem to share this longing, which is one reason they write so very little. But we do. We have so much we want to say and figure out.

Publication is not all that it is cracked up to be. But writing is.

You own everything that happened to you. Tell your stories. If people wanted you to write warmly about them, they should have behaved better.

Try to write in a directly emotional way, instead of being too subtle or oblique. Don't be afraid of your material or your past. Be afraid of wasting any more time obsessing about how you look and how people see you. Be afraid of not getting your writing done.

Writing and reading decrease our sense of isolation. They deepen and widen and expand our sense of life: they feed the soul.

You don't want to spend your time around people who make you hold your breath. You can't fill up when you're holding your breath. And writing is about filling up, filling up when you are empty, letting images and ideas and smells run down like water - just as writing is also about dealing with the emptiness.

I still encourage anyone who feels at all compelled to write to do so. I just try to warn people who hope to get published that publication is not all it is cracked up to be. But writing is. Writing has so much to give, so much to teach, so many surprises. That thing you had to force yourself to do---the actual act of writing---turns out to be the best part. It's like discovering that while you thought you needed the tea ceremony for the caffeine, what you really needed was the tea ceremony. The act of writing turns out to be its own reward.

If you always dreamed of writing a novel or a memoir, and you used to love to write, and were pretty good at it, will it break your heart if it turns out you never got around to it? If you wake up one day at eighty, will you feel nonchalant that something always took precedence over a daily commitment to discovering your creative spirit? If not--if this very thought fills you with regret--then what are you waiting for?

E.L. Doctorow said once said that 'Writing a novel is like driving a car at night. You can see only as far as your headlights, but you can make the whole trip that way.' You don't have to see where you're going, you don't have to see your destination or everything you will pass along the way. You just have to see two or three feet ahead of you. This is right up there with the best advice on writing, or life, I have ever heard.

Perfectionism is the voice of the oppressor, the enemy of the people. It will keep you cramped and insane your whole life, and it is the main obstacle between you and a shitty first draft. I think perfectionism is based on the obsessive belief that if you run carefully enough, hitting each stepping-stone just right, you won't have to die. The truth is that you will die anyway and that a lot of people who aren't even looking at their feet are going to do a whole lot better than you, and have a lot more fun while they're doing it.

You are going to feel like hell if you never write the stuff that is tugging on the sleeves in your heart--your stories, visions, memories, songs: your truth, your version of things, in your voice. That is really all you have to offer us, and it's why you were born.