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Natalie Goldberg

Natalie Goldberg Quotes

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Famous Natalie Goldberg Quotes

“No matter what a person does to cover up and conceal themselves, when we write and lose control, I can spot a person from Alabama, Florida, South Carolina a mile away even if they make no exact reference to location. Their words are lush like the land they come from, filled with nine aunties, people named Bubba. There is something extravagant and wild about what they have to say — snakes on the roof of a car, swamps, a delta, sweat, the smell of sea, buzz of an air conditioner, Coca-Cola — something fertile, with a hidden danger or shame, thick like the humidity, unspoken yet ever-present. Often when a southerner reads, the members of the class look at each other, and you can hear them thinking, gee, I can't write like that. The power and force of the land is heard in the piece. These southerners know the names of what shrubs hang over what creek, what dogwood flowers bloom what color, what kind of soil is under their feet. I tease the class, "Pay no mind. It's the southern writing gene. The rest of us have to toil away.”

“Writers do like money; artists, contrary to popular belief, do like to eat. It’s only that money isn’t the driving force. I feel very rich when I have time to write and very poor when I get a regular paycheck and no time to work at my real work. Think of it. Employers pay salaries for time. That is the basic commodity that human beings have that is valuable. We exchange our time in life for money. Writers stay with the first step—their time—and feel it is valuable even before they get money for it. They hold on to it and aren’t so eager to sell it.”

“We always worry that we are copying someone else, that we don't have our own style. Don't worry. Writing is a communal act. Contrary to popular belief, a writer is not Prometheus alone on a hill full of fire. We are very arrogant to think we alone have a totally original mind. We are carried on the backs of all the writers who came before us. We live in the present with all the history, ideas, and soda pop of this time. It all gets mixed up in our writing.”

“There's an old adage in writing: 'Don't tell, but show.' Writing is not psychology. We do not talk 'about' feelings. Instead the writer feels and through her words awakens those feelings in the reader. The writer takes the reader's hand and guides him through the valley of sorrow and joy without ever having to mention those words.”

“I hear people say they're going to write. I ask, when? They give me vague statements. Indefinite plans get dubious results. When we're concrete about our writing time, it alleviates that thin constant feeling of anxiety that writers have - we're barbecuing hot dogs, riding a bike, sailing out in the bay, shopping for shoes, even helping a sick friend, but somewhere nervously at the periphery of our perception we know we belong somewhere else - at our desk!”

“It used to be with chocolate. I would put chocolate in my studio and say, "You know, Nat, there's this chocolate you can have if you get over there." And usually if I got over there, I would start writing. Sometimes I need get out of the house and go to a café and write. Sometimes I'll write with other friends to get myself going. And sometimes I just say "Ok, Nat, enough. Go one hour. Keep your hand going." I'll do whatever it takes.”

“Let's say I've directed that [writing] energy into writing my latest book but suddenly, I really want to write about an onion. I don't say to myself, "No, you have stay on the subject," because I know that the longer I stay on the subject the more boring I get. So, if my mind wants to write about an onion, it might be a deeper way to go into what I'm working on, even though it might seem irrelevant. This is how I've learned to follow my mind.”

“I wonder if I don't give too much of myself to writing: I am always half where I am; the other half is feeding the furnace, kick-starting the heat of creativity. I am making love with someone but at the same time I'm noticing how this graceful hand across my belly might just fit in with the memory of lilacs in Albuquerque in 1974.”

“It's okay to embark on writing because you think it will get you love. At least it gets you going, but it doesn't last. After a while you realize that no one cares that much. Then you find another reason: money. You can dream on that one while the bills pile up. Then you think: "Well, I'm the sensitive type. I have to express myself." Do me a favor. Don't be so sensitive. Be tough. It will get you further along when you get rejected. Finally, you just do it because you happen to like it.”

“Sometimes people say to me, “I want to write, but I have five kids, a full-time job, a wife who beats me, a tremendous debt to my parents,” and so on. I say to them, “There is no excuse. If you want to write, write. This is your life. You are responsible for it. You will not live forever. Don’t wait. Make the time now, even if it is ten minutes once a week."”

“First, consider the pen you write with. It should be a fast-writing pen because your thoughts are always much faster than your hand. You don't want to slow up your hand even more with a slow pen. A ballpoint, a pencil, a felt tip, for sure, are slow. Go to a stationery store and see what feels good to you. Try out different kinds. Don't get too fancy and expensive. I mostly use a cheap Sheaffer fountain pen, about $1.95.... You want to be able to feel the connection and texture of the pen on paper.”

“The things that make you a functional citizen in society - manners, discretion, cordiality - don't necessarily make you a good writer. Writing needs raw truth, wants your suffering and darkness on the table, revels in a cutting mind that takes no prisoners.”