Quotations from all quarters on life, literature, and whatever else tickled my fancy. Browse and enjoy. —T. S.

Barry Eisler on efficiency

Even a wagon with square wheels can be pushed, if there’s enough force behind it. I wouldn’t call that an argument for outfitting vehicles with square wheels.

Barry Eisler

Francis Bacon on fortune

It cannot be denied, but outward accidents conduce much to fortune; favor, opportunity, death of others, occasion fitting virtue. But chiefly, the mould of a man’s fortune is in his own hands. Faber quisque fortunæ suæ,1 saith the poet. And the most frequent of external causes is, that the folly of one man is the fortune of another. For no man prospers so suddenly as by others’ errors. Serpens nisi serpentem comederit non fit draco.2 . . .

The way of fortune is like the Milken Way in the sky; which is a meeting or knot of a number of small stars; not seen asunder, but giving light together. So are there a number of little and scarce discerned virtues, or rather faculties and customs, that make men fortunate. The Italians note some of them, such as a man would little think. When they speak of one that cannot do amiss, they will throw in into his other conditions, that he hath Poco di matto3.

—Francis Bacon, ‘Of Fortune’

 

1Everyone is the architect of his own fortune.

2A serpent does not become a dragon unless he has eaten another serpent.

3A touch of the lunatic.

Plus ça change

Now that anyone is free to print whatever they wish, they often disregard that which is best and instead write, merely for the sake of entertainment, what would best be forgotten, or, better still be erased from all books.

—Niccolò Perotti, 1471

Sarah A. Hoyt on talent and confidence

The assumption that talent and confidence in that talent correlate is a fallacy from movies, I think. I’ve seen timid mice who would write very well, and I know — ye gods, a lot of them are darlings of the industry — a lot of braggarts I wouldn’t read if it were the only thing I had to read on a deserted island.

Also, while I AM one of the deformed souls who will come back to writing no matter what — it doesn’t mean it has to be for-money writing or even writing most people want to read. For two years I wrote almost nothing but Jane Austen fan fic. And while I don’t like what I was trained to do for a living, I probably could make a living off the furniture thing. Pros have thought I could. And at least twice I would have walked away from writing and rented a workshop, if my husband hadn’t asked me to give it one more year.

How many writers have I not been able to read because of the stupid movie cliche that “if you’re stubborn enough, you have what it takes?”

Well . . . it’s better with indie now. I have more stuff to read and can even find it. And maybe, just maybe, this whole ethos will change.

Sarah A. Hoyt

Wasserman vs. Resnick on genre publishing

[I]n certain genres (romance, science fiction and fantasy) formerly relegated to the moribund mass-market paperback, readers care not a whit about cover design or even good writing, and have no attachment at all to the book as object. Like addicts, they just want their fix at the lowest possible price, and Amazon is happy to be their online dealer.

—Some idiot named Steve Wasserman, in The Nation


OMG! This is such a relief! I’ve been so misled.

I can finally stop editing and taking pains to package my romance backlist well! NO ONE CARES! They’re just addicts!

I can finally stop editing and taking pains to package my fantasy backlist well! My readers don’t care about quality!

I can tell my dad, a science fiction writer, to relax and stop sweating over Hugo-quality material! No one cares! Science fiction readers are just junkies!

I can tell my publisher to stop spending all that money on my award-winning cover artist! An LA Times book reviewer has declared that it’s pointless! My readers are indifferent to brilliant cover art! We could probably just package the worthless sh*t that I write in a brown paper wrapper!

Whoa! So GLAD Mr. Wasserman enlightened me. The pressure to write well, the pressure on my editors to acquire and edit well, and the pressure on my cover artists and designers… Gone! It never mattered! Our readers our brain-dead junkies! Yay! What a RELIEF not to have to behave like REAL writers, editors, artists, and publishers, after all!

Laura Resnick

St. Gregory on praise

A heart that is truly humble always fears to hear its own praises, because it fears that this praise may either be false or may rob it of the merit and reward promised to true virtue. If the heart is truly humble, the good that it hears of itself it either fails to recognize or fears lest the hope of future title to reward be changed for some passing favour.

—St. Gregory, quoted by Fr. Cajetan Mary da Bergamo in Humility of Heart

Laura Resnick on writing

Writing is like yoga.

It’s also like sex, cooking, parenthood, opera, war, gardening, and conjugating French verbs. But we’re going to go with the yoga analogy for now.

In my yoga class, my teacher tells me to think about my rib cage, my thigh muscles, my spine, my breath, my gaze, my ankles, my mouth, my cheeks, my hands, my balance, my toes, my belly, my kidneys, and The Universal. She also, at the same time, tells me to clear my mind and think of nothing. Then she tells me to stand on my left earlobe.

I’m sure the obvious parallels to writing are instantly apparent to you.

—Laura Resnick, Rejection, Romance, and Royalties

G. K. C. on Oscar Wilde

I remember a venerable man with a very long beard who seemed to live at one of these clubs. At intervals he would hold up his hand as if for silence and preface his remarks by saying, ‘A Thought.’ And then he would say something that sounded as if a cow had suddenly spoken in a drawing-room. I remember once a silent and much-enduring man (I rather think it was my friend Mr. Edgar Jepson, the novelist) who could bear it no longer and cried with a sort of expiring gasp, ‘But, Good God, man, you don’t call that a thought, do you?’

But that was pretty much the quality of the thought of such thinkers, especially of the freethinkers. Out of this social situation arises one sort of exception to the rule. Intelligence does exist even in the Intelligentsia. It does sometimes happen that a man of real talent has a weakness for flattery, even the flattery of fools. He would rather say something that silly people think clever than something which only clever people could perceive to be true.

Oscar Wilde was a man of this type. When he said somewhere that an immoral woman is the sort of woman a man never gets tired of, he used a phrase so baseless as to be perfectly pointless. Everybody knows that a man may get tired of a whole procession of immoral women, especially if he is an immoral man. That was ‘a Thought’; otherwise something to be uttered, with uplifted hand, to people who could not think at all.

In their poor muddled minds there was some vague connection between wit and cynicism; so they never applauded him so warmly as a wit, as when he was cynical without being witty. But when he said, ‘A cynic is a man who knows the price of everything and the value of nothing,’ he made a statement (in excellent epigrammatic form) which really meant something. But it would have meant his own immediate dethronement if it could have been understood by those who only enthroned him for being cynical.

—G. K. Chesterton, The Thing

Mary Sisson on the risks in publishing

Some wise words on weighing risk vs. reward in publishing:

My attitude is to look at what happens if you make the wrong choice.

If you self-publish and you do something wrong, you can fix it. If the entire self-publishing industry implodes, you still have the rights to your work, so you can still go sell it to a traditional publisher.

If you go traditional and something goes wrong, you are completely screwed. You’ve signed away your rights, you don’t have control over how your work is marketed, etc., etc. If your publisher goes under, it’s going to take a long time and a lot of legal work for you to be able to re-sell that work, assuming you ever can. Is it worth to you to take that kind of risk in return for some editing and cover art?

Mary Sisson

Jerrold Mundis on the flow of writing

It’s a rare occasion when the words just flow without interruption. More often they flow for thirty seconds, five or ten minutes at a time. Then you stop and think, stare at the page or the screen, look out the window, or whatever it is that you do, and then write for another thirty seconds, five or ten minutes. Once in a while, you’ll catch fire and in a white heat type as fast as you can for an hour or two, even three or four. That has happened to me — maybe ten or fifteen times over the past twenty-five years. For most writers, nearly every day it’s a matter of hills and valleys, with pauses in between.

—Jerrold Mundis, Break Writer’s Block Now!

Another bit from the same book that particularly struck me:

The average full-time writer puts in four to four-and-a-half hours a day, five days a week; the average part-time writer puts in one to two hours a day, five or six days a week. . . . Writing is energy-intensive. Overreaching invites burnout and block.