David Foster Wallace Writing Quotations

I was trained mainly as a short story writer and that's how I started writing, but I've also become very interested in non-fiction, just because I got a couple of magazine jobs when I was really poor and needed the money and it turned out that non-fiction was much more interesting than I thought it was.

Like so many other nerdy, disaffected young people of that time, I dreamed of becoming an 'artist', i.e., somebody whose adult job was original and creative instead of tedious and dronelike.

A novelist has to know enough about a subject to fool the passenger next to him on an airplane.

No one can call themselves a writer until he or she has written at least fifty stories.

We will, of course, without hesitation use art to parody, ridicule, debunk, or criticize ideologies.

One paradox of professional writing is that books written solely for money and/or acclaim will almost never be good enough to garner either.

Under fun's new administration, writing fiction becomes a way to go deep inside yourself and illuminate precisely the stuff you don't want to see or let anyone else see, and this stuff usually turns out (paradoxically) to be precisely the stuff all writers and readers share and respond to, feel.

Some words have to be explicitly uttered, Lenore. Only by actually uttering certain words does one really DO what one SAYS. 'Love' is one of those words, performative words. Some words can literally make things real.

You have a great deal of yourself on the line, writing- your vanity is at stake. You discover a tricky thing about fiction writing; a certain amount of vanity is necessary to be able to do it all, but any vanity above that certain amount is lethal.

The fun of reading as "an exchange between consciousnesses, a way for human beings to talk to each other about stuff we can't normally talk about."

You have to understand, writing a novel gets very weird and invisible-friend-from-childhood-ish. Then you kill that thing, which was never really alive except in your imagination, and you're supposed to go buy groceries and talk to people at parties and stuff.

God, what a ghastly enterprise to be in, though-and what an odd way to achieve success. I'm an exhibitionist who wants to hide, but is unsuccessful at hiding; therefore, somehow I succeed.

When I say or write something, there are actually a whole lot of different things I am communicating. The propositional content (i.e., the verbal information I'm trying to convey) is only one part of it. Another part is stuff about me, the communicator. Everyone knows this. It's a function of the fact there are so many different well-formed ways to say the same basic thing, from e.g. "I was attacked by a bear!" to "Goddamn bear tried to kill me!" to "That ursine juggernaut did essay to sup upon my person!" and so on.

If you're writing fiction, you're dealing with characters who, themselves, will have heartfelt sentiments but who, themselves, live in this culture right now and thus face all the impediments to sort of dealing with those parts of their lives that, you know, that we did. So it would be not only silly but unrealistic to have a character saying that kind of stuff.

There are very few innocent sentences in writing.

Postmodern irony and cynicism's become an end in itself, a measure of hip sophistication and literary savvy. Few artists dare to try to talk about ways of working toward redeeming what's wrong, because they'll look sentimental and naive to all the weary ironists. Irony's gone from liberating to enslaving. ... The postmodern founders' patricidal work was great, but patricide produces orphans, and no amount of revelry can make up for the fact that writers my age have been literary orphans throughout our formative years.

Of course, the fact that Dostoevsky can tell a juicy story isn't enough to make him great. If it were, Judith Krantz and John Grisham would be great fiction writers, and by any but the most commercial standards they're not even very good.

In the broadest possible sense, writing well means to communicate clearly and interestingly and in a way that feels alive to the reader. Where there’s some kind of relationship between the writer and the reader - even though it’s mediated by a kind of text - there’s an electricity about it.

This story ["The Depressed Person"] was the most painful thing I ever wrote. It's about narcissism, which is a part of depression. The character has traits of myself. I really lost friends while writing on that story, I became ugly and unhappy and just yelled at people. The cruel thing with depression is that it's such a self-centered illness - Dostoevsky shows that pretty good in his "Notes from Underground". The depression is painful, you're sapped/consumed by yourself; the worse the depression, the more you just think about yourself and the stranger and repellent you appear to others.

I will probably write an hour a day and spend eight hours a day biting my knuckle and worrying about not writing.

Writing fiction takes me out of time. I sit down and the clock will not exist for me for a few hours. That’s probably as close to immortal as we’ll ever get.

Fiction becomes a weird way to countenance yourself and to tell the truth instead of being a way to escape yourself or present yourself in a way you figure you will be maximally likable.

Good writing isn’t a science. It’s an art, and the horizon is infinite. You can always get better.

If you spend enough time reading or writing, you find a voice, but you also find certain tastes. You find certain writers who when they write, it makes your own brain voice like a tuning fork, and you just resonate with them. And when that happens, reading those writers ... becomes a source of unbelievable joy. It’s like eating candy for the soul. And I sometimes have a hard time understanding how people who don’t have that in their lives make it through the day.

You don't have to think very hard to realize that our dread of both relationships and loneliness ... has to do with angst about death, the recognition that I'm going to die, and die very much alone, and the rest of the world is going to go merrily on without me.