The Work Of Any Great Artist Is Directed At the Heart

The work of any great artist is directed at the heart, the spirit and the soul, not the brain. Critics feel with their brains, they probably fuck with their brains too. But the worst part is they fill their brainy shit into you and then we’re all made to feel we have to analyze literary works based on all this brainy shittage. No, if you feel Beckett, you see something else: that his writing evokes a sort of sacred chaos, a blissful holiday for the brain and a profoundly pleasurable call to the spirit.

AMRITA MUKERJEE

Self-Doubt Can Be An Ally

Self-doubt can be an ally. This is because it serves as an indicator of aspiration. It reflects love, love of something we dream of doing, and desire, desire to do it. If you find yourself asking yourself (and your friends), "Am I really a writer? Am I really an artist?" chances are you are. The counterfeit innovator is wildly self-confident. The real one is scared to death.

STEVEN PRESSFIELD

Art is by Nature a Transgressive Act

To write is to invade another's space, if only to memorialize it. To write is to invite angry censure from those who don't write, or who don't write in quite the way you do, for whom you may seem a threat. Art by its nature is a transgressive act, and artists must accept being punished for it. The more original and unsettling their art, the more devastating the punishment.

JOYCE CAROL OATES

Nietzsche's 10 Rules for Writers

1. Of prime necessity is life: a style should live.

2. Style should be suited to the specific person with whom you wish to communicate. (The law of mutual relation.)

3. First, one must determine precisely “what-and-what do I wish to say and present,” before you may write. Writing must be mimicry.

4. Since the writer lacks many of the speaker’s means, he must in general have for his model a very expressive kind of presentation of necessity, the written copy will appear much paler.

5. The richness of life reveals itself through a richness of gestures. One must learn to feel everything — the length and retarding of sentences, interpunctuations, the choice of words, the pausing, the sequence of arguments — like gestures.

6. Be careful with periods! Only those people who also have long duration of breath while speaking are entitled to periods. With most people, the period is a matter of affectation.

7. Style ought to prove that one believes in an idea; not only that one thinks it but also feels it.

8. The more abstract a truth which one wishes to teach, the more one must first entice the senses.

9. Strategy on the part of the good writer of prose consists of choosing his means for stepping close to poetry but never stepping into it.

10. It is not good manners or clever to deprive one’s reader of the most obvious objections. It is very good manners and very clever to leave it to one’s reader alone to pronounce the ultimate quintessence of our wisdom.

FRIEDRICH WILHELM NIETZSCHE

No Book Ever Gets Written by Thinking About It

No book ever gets written by thinking about it or going bowling or playing golf. You have to put your butt down and spend many, many hours in front of a computer or a piece of paper, and don’t get up, even if you’re blocked or don’t know what’s going to happen next or you don’t know what the next sentence should be. You’re like a donkey, you just keep plodding. And that quality of perseverance and stubbornness is really important.

TIM O'BRIEN

Creativity is Paradoxical

Creativity is paradoxical. To create, a person must have knowledge but forget the knowledge, must see unexpected connections in things but not have a mental disorder, must work hard but spend time doing nothing as information incubates, must create many ideas yet most of them are useless, must look at the same thing as everyone else, yet see something different, must desire success but embrace failure, must be persistent but not stubborn, and must listen to experts but know how to disregard them.

MICHAEL MICHALKO