David Sedaris Thinking Quotations

I always think it's a good policy to like the people who like you.

I started writing one afternoon when I was twenty, and ever since then I have written every day. At first I had to force myself. Then it became part of my identity, and I did it without thinking.

I love things made out of animals. It's just so funny to think of someone saying, 'I need a letter opener. I guess I'll have to kill a deer.

When I look at a lot of older stuff that I've written, I think one sign of amateur humor writing is when you see people trying too hard.

I just think that the people who say: 'That's not true' when someone tells a story at dinner are the people who didn't get any laughs when they told their story.

I don't think my life is more interesting than anybody else's.

Also, I used to think that one day I might get someone to iron my shirts, but the truth is I really like doing them myself.

It can take years. With the first draft, I just write everything. With the second draft, it becomes so depressing for me, because I realize that I was fooled into thinking I'd written the story. I hadn't-I had just typed for a long time. So then I have to carve out a story from the 25 or so pages. It's in there somewhere-but I have to find it. I'll then write a third, fourth, and fifth draft, and so on.

I’d always been afraid of sick people, and so had my mother. It wasn’t that we feared catching their brain aneurysm or accidentally ripping out their IV. I think it was their fortitude that frightened us. Sick people reminded us not of what we had, but of what we lacked. Everything we said sounded petty and insignificant; our complaints paled in the face of theirs, and without our complaints, there was nothing to say.

She said, “I’m going to have you fired.” I had two people say that to me today, “I’m going to have you fired.” Go ahead, be my guest. I’m wearing a green velvet costume; it doesn’t get any worse than this. Who do these people think they are? I’m going to have you fired!” and I wanted to lean over and say, “I’m going to have you killed.

I'd tried to straighten him out, but there's only so much you can do for a person who thinks Auschwitz is a brand of beer.

Usually, if I think something is really funny, it doesn't get any reaction whatsoever.

The difference between writing where you know where to draw the line and writing where you're being way too mean is whether you can tell that the writer is not talking to family or friends anymore. Generally, if you say something bad about somebody on stage, you need to say two bad things about yourself. A lot of times, I think I'm the worst person in the room.

I've maintained old friendships, like with people I knew in the nineteen-seventies, but have lost the knack for meeting new people. This has a lot to do with my writing schedule. I don't want to be disturbed, and the willingness to be disturbed is, I think, part of being a good friend.

When someone tell me they illegally downloaded one of my audiobooks I think, Thanks a lot, Pal. When someone tells me they checked my book out of the library, I'm delighted. I've always been a big library user, and feel a kinship with others who do the same thing.

Whenever I write about my family, I start by getting my parent`s approval. I like to think I write about them with obvious affection. When it comes to the people I'm related to, I consider myself to be very lucky.

I mean, I'm always happy if I have, like, humiliating asshole things that I did. I think: Oh good, that's a good story. Because if you write about humiliating asshole things other people do it doesn't work as well. I mean, you can, but you can get away with it better if you talk about what an asshole you are. It's much easier.

Watching him was like opening the door to a siniging telegram; you know it's supposed to be entertaining, but you can't get beyond the sad fact that this person actually thinks he bringing some joy into your life. Somewhere he had a mother who sifted through a shoe box of mimeographed playbills, pouring herself another drink and wondering when her son would come to his senses and swallow some drain cleaner.

Hugh consoled me, saying, "Don't let it get to you. There are plenty of things you're good at." When asked for some examples, he listed vacuuming and naming stuffed animals. He says he can probably come up with a few more, but he'll need some time to think.

I don't worry about being exposed. When I'm writing about myself I think about myself as a character. There is a ton of stuff going on in my life that I don't write about. If I need to write that stuff down, I write about myself in my diary.

I think if you write humor, then people don't - you know - they don't give you that much credit. They tend to think you just dictate your stories into a tape recorder. And I'm not necessarily insulted by that, because I think that just means that it looks easy.

I'm not afraid to write about madness. I always figure that whatever most embarrasses you is something that everyone can relate to, really...because we're just not that different. So if you think, 'Oh my god, this is so embarrassing. I can't possibly talk about that,' and you write about it, the audience is gonna be like, 'that happened to me!

The trouble with aggressive nonsmokers is that they feel they are doing you a favor by not allowing you to smoke. They seem to think that one day you'll look back and thank them for those precious fifteen seconds they just added to your life. What they don't understand is that those are just fifteen more seconds you can spend hating their guts and plotting revenge.

The landscape is best described as 'pedestrian hostile.' It's pointless to try to take a walk, so I generally just stay in the room and think about shooting myself in the head.

This left me alone to solve the coffee problem - a sort of catch-22, as in order to think straight I need caffeine, and in order to make that happen I need to think straight.

All of a sudden, when you're exposed to a large audience, they think you just started writing that day, but I started years before. I look back at things I wrote then and I'm so embarrassed - the writing seems so blocky and choppy to me and I wouldn't have wanted success any sooner because the writing was even worse.

... [I] recall thinking that the computer would never advance much further than this. Call me naïve, but I seemed to have underestimated the universal desire to sit in a hard plastic chair and stare at a screen until your eyes cross.

People discuss their relationships all the time, but you can't. I don't think people realize how harmful that is, how it twists you up to hide who you are. It's not healthy, and the great gains that homosexuals have made in my lifetime, I think that we'll look back in twenty or thirty years and say, "I can't believe we ever made them go through that."

I think it's good to have the alone time. Well, I kind of have to, because I have to be alone in order to work, so I have alone time. And then I go on tour and I have being-around-people time.

I think I became a better writer after I started writing for the New Yorker. Well, I know I did. And part of it was having my New Yorker editor and part of it is that was when I started really going on tour and reading things in front of an audience 30 times and then going back in the room and rewriting it and reading it and rewriting it. So you really get the rhythm of the sentences down and you really get the flow down and you get rid of stuff that's not important.

I would still be reading out loud. I think that if you are any kind of an artist, then validation is just sort of... it can be a result, but you're going to do the work anyway. Because you're just wired that way. It's so engrained, it's such a part of your personality that you don't just stop doing it. Eventually I'll retire on some level, eventually no one will want to buy my books or a ticket to see me read, it's inevitable that's going to happe