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He thought for a moment, brought back from his reflections. "It was only possible for me to do it," he said, "because it was necessary. I either had to write the book or be reduced to despair; it was the only means of saving me from nothingness, chaos and suicide. The book was written under this pressure and brought me the expected cure, simply because it was written, irrespective of whether it was good or bad. That was the only thing that counted. And while writing it, there was no need for me to think at all of any other reader but myself, or at the most, here and there another close war comrade, and I certainly never thought then about the survivors, but always about those who fell in the war. While writing it, I was as if delirious or crazy, surrounded by three or four people with mutilated bodies — that is how the book was produced."

 

Hermann Hesse

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I've long thought about how life is influenced by death, how it influences what you believe in and what you look for. Yes, I think I was pushed in a way to write this book by certain spirits — the yin people — in my life. They've always been there, I wouldn't say to help, but to kick me in the ass to write. ...Yin people is the term Kwan uses, because "ghosts" is politically incorrect. People have such terrible assumptions about ghosts — you know, phantoms that haunt you, that make you scared, that turn the house upside down. Yin people are not in our living presence but are around, and kind of guide you to insights. Like in Las Vegas when the bells go off, telling you you've hit the jackpot. Yin people ring the bells, saying, "Pay attention." And you say, "Oh, I see now." Yet I'm a fairly skeptical person. I'm educated, I'm reasonably sane, and I know that this subject is fodder for ridicule. ... To write the book, I had to put that aside. As with any book. I go through the anxiety, "What will people think of me for writing something like this?" But ultimately, I have to write what I have to write about, including the question of life continuing beyond our ordinary senses.

 

Amy Tan

 

Bad writing days are days when you mean to write and can't, or are interrupted so frequently that nothing gets done. I'm disheartened at how often I see the blogs of aspiring writers bemoaning how slowly a book or story is coming along. They have somehow gotten it in their heads that writing is a thing done quickly, efficiently, like an assembly line with lots of shiny robotic workers. The truth, of course, is that writing is usually slow, and inefficient, and more like trying to find a cube of brown Jello that someone's carelessly dropped into a pig sty. Five hundred words in a day is good. So is a thousand. Or fifteen hundred. A good writing day is a day when one has written well, and the word counts be damned. Finishing is not the goal. Doing the job well is the goal. And I say that as someone with no means of financial support but her writing, as someone who is woefully underpaid for her writing, and as someone with so many deadlines breathing down her neck that she can no longer tell one breather from the other. Sometimes, I forget this, that daily word counts are irrelevant, that writing is not a race to the finish line. One need only write well if one wishes to be a writer. A day when one does not do her best merely so that more may be written, that's a bad writing day.

 

Caitlin R. Kiernan

 

I read it for the first time in about 20 years this year–-recently. It wasn't so bad. I get it. I get fan mail now from people who weren't really born yet when the book came out. I don't think it's a perfect book by any means, but it's valid. I get where it comes from. I get what it is. I know that sounds so ambiguous. It's sort of out of my hands and it has its reputation so what can you do about it? There's a lot of it that I wish was slightly more elegantly written. Overall, I was pretty shocked. It was pretty good writing for someone who was 19. I was pretty surprised by the level of writing.

 

Bret Easton Ellis

 

I don't know if Native Son is a good book or a bad book. And I don't know if the book I'm working on now will be a good book or a bad book. And I really don't care. The mere writing of it will be more fun and a deeper satisfaction than any praise or blame from anybody. I feel that I'm lucky to be alive to write novels today, when the whole world is caught in the pangs of war and change.

 

Richard Wright

 

I learned a lot about the play of emotion. There was a part of me that whistled in the dark, and said, "It's all right, he wrote a very good book; it's probably better than The Naked and the Dead." I must tell you now, in this point of my literary existence, I think it was better than The Naked and the Dead, because it went into the taproot of Army experience. I had learned a lot in the Army from a couple of years in it, and it had had a huge effect on me, and I'd been able to write a pretty good novel with it. But it hadn't been my life in the way it had been for Jones. He hadn't had a successful career life as an adolescent and a young man, so he went into that Regular Army. That was going to be his life; that was going to be his existence. It wasn't something he was going to get out of necessarily. And so his book, I felt, went deeper into the nature of what it was like to be a soldier. So I thought, yes, it was a better book than I had written.

 

James Jones