20 Great Quotes on Writing From Aldous Huxley & George Orwell

We are currently living in a dystopian reality, where it seems that fact is stranger than fiction. It’s gotten so weird that many writers have thrown up their arms in defeat, saying, why bother?  

In these strange moments, there are two writers we can turn to for inspiration as we attempt to navigate through these rocky days. 

Aldous Huxley, the author of Brave New World (Amazon), and George Orwell, the author of 1984 (Amazon), lived through their own troubling times. And in their experiences, they’ve created works that eerily predicted scenarios that we are living through today. While one saw a future where we are consumed by pleasure, the other saw a world imposed by fear. 

Yet, we are somewhere in between now, rolling from one end — our addictions to the other end our phobias. Writing allows us to recognize these temptations — these traumas — and how we respond to them. While we might not be able to write something that will honestly capture the moment or even rival it in uniqueness, we can write to understand our own perception of these crazy times. 

Today, we are going to look at 10 quotes each from these iconic authors and find insights into their creative process.

Aldous Huxley:

  1. Writers write to influence their readers, their preachers, their auditors, but always, at bottom, to be more themselves.
  1. Words can be like X-rays if you use them properly — they’ll go through anything. You read and you’re pierced.
  1. To write fiction, one needs a whole series of inspirations about people in an actual environment, and then a whole lot of work on the basis of those inspirations.
  1. A bad book is as much of a labor to write as a good one, it comes as sincerely from the author’s soul.
  1. I met, not long ago, a young man who aspired to become a novelist. Knowing that I was in the profession, he asked me to tell him how he should set to work to realize his ambition. I did my best to explain. ‘The first thing,’ I said, ‘is to buy quite a lot of paper, a bottle of ink, and a pen. After that you merely have to write.’
  1. I believe one would write better if the climate were bad. If there were a lot of wind and storms for example.
  1. I write everything many times over. All my thoughts are second thoughts.
  1. I’ve never discussed my writing with others much, but I don’t believe it can do any harm. I don’t think that there’s any risk that ideas or materials will evaporate.
  1. Perhaps it’s good for one to suffer. Can an artist do anything if he’s happy? Would he ever want to do anything? What is art, after all, but a protest against the horrible inclemency of life?
  2. Every man who knows how to read has it in his power to magnify himself, to multiply the ways in which he exists, to make his life full, significant and interesting.

George Orwell:

  1.  If people cannot write well, they cannot think well, and if they cannot think well, others will do their thinking for them.
  1. When I sit down to write a book, I do not say to myself, ‘I am going to produce a work of art.’ I write it because there is some lie that I want to expose, some fact to which I want to draw attention, and my initial concern is to get a hearing.
  • Never use a metaphor, simile, or other figure of speech which you are used to seeing in print.
  • Never use a long word where a short one will do.
  • If it is possible to cut a word out, always cut it out.
  • Never use the passive where you can use the active.
  • Never use a foreign phrase, a scientific word, or a jargon word if you can think of an everyday English equivalent.
  • Break any of these rules sooner than say anything outright barbarous.
  1. I do not wish to comment on the work; if it does not speak for itself, it is a failure.
  1. Political language is designed to make lies sound truthful and murder respectable, and to give an appearance of solidity to pure wind. 
  1. I do not think one can assess a writer’s motives without knowing something of his early development. His subject matter will be determined by the age he lives in … but before he ever begins to write he will have acquired an emotional attitude from which he will never completely escape.
  1. To write or even speak English is not a science but an art. There are no reliable words. Whoever writes English is involved in a struggle that never lets up even for a sentence. He is struggling against vagueness, against obscurity, against the lure of the decorative adjective, against the encroachment of Latin and Greek, and, above all, against the worn-out phrases and dead metaphors with which the language is cluttered up.
  1. The actual writing would be easy. All he had to do was to transfer to paper the interminable restless monologue that had been running inside his head, literally for years.
  1. A scrupulous writer, in every sentence that he writes, will ask himself at least four questions, thus: 1. What am I trying to say? 2. What words will express it? 3. What image or idiom will make it clearer? 4. Is this image fresh enough to have an effect?
  1. Writing a book is a horrible, exhausting struggle, like a long bout with some painful illness. One would never undertake such a thing if one were not driven on by some demon whom one can neither resist nor understand.

Interested in more writing quotes? Check out what Kurt Vonnegut or Haruki Murakami has to share.

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How to Write a Tragic Character: Frank Grimes

Today we’ll be exploring one of the most tragic characters in the Simpsons canon, Homer’s Enemy, Frank Grimes. Frank Grimes or Grimey appeared in what many consider to be one of the darkest episodes in all of The Simpsons. What made episode 23 of season 8 so unique and unforgettable was that the Frank Grimes character actually represented a normal person (a hardworking, persevering American everyman) stepping into The Simpsons Universe. Frank Grimes is most of us. 

But what was it that made Frank Grimes so relatable yet so tragic? It was the shape of his story.

Charting characters’ journeys through a story is a good way to ensure they don’t stay stagnant.  This can be done by monitoring how the character moves up and down the rankings of fortune. What happens to this character? What does he or she do from beginning to end? And do those events and actions yield something good or something bad? 

In a 2004 lecture, the author of Slaughter-House Five, Kurt Vonnegut showed the variety of shapes a story can take on a graph he drew on a chalkboard. On the vertical axis (The G-I axis) top represents good fortune for the character (they get a promotion, they get married, or they win a championship) and at the bottom ill fortune (they get sick, they get fired, or they lose everything in a hurricane). On the horizontal axis (The B-E axis) the left is the beginning and the right is the end of the story. 

Using this graph we can see the story of Frank Grimes unfold more clearly and recognize how to use triumphs and failures to build a character. 

Frank Grimes’ life begins like any other somewhere just above good fortune for having been born. Yet early in his story, he is stricken with bad luck. At the age of four, Frank Grimes was abandoned by his family. Orphaned at such a young age, this set his life into a downward trend. 

At least he gets a job, but he doesn’t rise up far, for it’s a job as a delivery boy, delivering toys to richer more fortunate children. Fortune continues going down for many years until his 18th birthday, when Frank Grimes is blown up in a silo explosion. The bottom falls out and we find our character as low as he’s ever been. 

Grimes recovers, slowly rising upward, and begins learning to hear and feel pain again. Gradually he climbs using his leisure time to study science by mail. Seventeen years past since his accident, working hard and persisting, Frank Grimes finally crosses the line from ill fortune into good fortune. At 35 years old, he received his correspondence school diploma in Nuclear Physics, with a minor in determination. He experiences a blimp immediately after this as a bird tries to steal his diploma. 

A week after, Frank Grimes’ fortune soared higher, when his segment in Kent’s People aired and Mr. Burns sought to hire him as the Executive Vice President of the Power Plant. Now, if Frank Grimes’ story was to end here, it would be a true underdog story, a man starting at zero and rising to the top. However, in this episode, this is where the story really begins. The story begins with Frank Grimes at his peak and we see how quickly his fortune reverses. 

Grimes spent no more than one full day at the pinnacle of his fortune. The next day Mr. Burns watched another segment of Kent’s People, this time about a heroic dog, and had already forgotten about the self-made-man. 

Having been put out of the way, Grimes begins a slow decline into madness. First with Homer touching his pencils, then calling him Stretch and eating his special dietetic lunch, then destroying his pencils, and finally being annoying and shirking his job, especially when there’s a Five-Thirteen,  

Even as annoying as Homer is, Grimes doesn’t fall below origin, that is until he saves Homer’s life, knocking a haphazardly placed beaker of sulphuric acid out of his hand into the wall, melting it completely. This just so happens as Mr. Burns is walking by. Things drop significantly, when Mr. Burns doesn’t terminate Grimes, but gives him one more chance, at a reduced salary. Grimes is not at rock bottom, things aren’t worse than when he was caught in the silo explosion, but it’s a dramatic turning point for Grimes, who wants nothing more to do with Homer. 

As bad as Grimes’ life is living in a single room above a bowling alley below another bowling alley and working a second job at the foundry, things don’t get any worse, until Homer tricks him to come over to his palace for an extravagant lobster dinner and to show off his perfect family. After seeing all of Homer’s achievements, going to space and winning a Grammy, the floor falls away and Grimes nosedives, but catches himself when he storms out after calling Homer a fraud. 

In an effort to get even, expose and disgrace Homer, and get some positive fortune, Grimes fools Homer into participating in the Children’s Nuclear Design Contest. Things were looking good for a short moment, but then, Homer hit his car on his way home to work on his design. All of that would be fine, if Homer is embarrassed on stage, but his plan fails and Homer wins the competition. This time, Grimes is unable to catch himself. Losing his mind, he mimics Homer self destructively, causing a scene and eventually electrocuting himself to death. Grimes’ life ends at a new low point. To accomplish all he had and to end up so disrespected, Frank Grimes’ character journey truly represents the tragedy of the American working class. How hard working people can overcome so much and still implode upon themselves. 

Yes, Homer’s Enemy is a dark episode, but it’s also one of the most memorable ones, because when we watch The Simpsons, in reality, more often than not, we are in Frank Grimes’ shoes. We all face good and ill fortune, that is what makes a character relatable. If you want to create your own character that experiences profound change, I recommend plotting their life on a story shape graph. Make sure they face good and ill fortune through their lives. Then choose a starting point. In the case of Frank Grimes, the story starts while he’s most fortunate. Maybe that’s a good place to start the story of your tragic character as well. 

Do you want to see the shape of a story for another famous character? Let me know in the comments. It can be from a movie, television show or literature. I’ll do my best to make it possible.

My favourite episode of The Simpsons is Lemon of Troy. It’s arguably the best written 22 minute of television. Allow me to explain. Read the article here.

For more writing and editing inspiration and stories, please consider signing up for my mailing list. You won’t receive emails from me often, but when you do, it’ll include only works that I’m most proud of.

The Butterfly Effect of Writing: Being At Peace With The Work You’ve Done

John is a best selling author on tour for his latest story about Dinosaurs. He had written many stories before, stories about Aliens, stories about Monsters, and even stories about Lovers. Yet, it was the Dinosaur story that really caught fire and launched him into stardom. Book tours, movie options, and adoring fans. John had made it. 

At a Q&A, a boy stands up and asks John, “You’ve written many books, many of which were flops. Now that the Dinosaur book is so well received and you’re getting new fans, are you embarrassed about everything you’ve written before? If you could go back in time, would you not write them and just write the Dinosaur story?” 

John knew the Alien story was bad, the Monster story was unoriginal, and the story about Lovers was honestly just therapy for a break up. The boy was worried on John’s behalf that his new fans would recognize his name, read his old work, and be disappointed. Or perhaps John would’ve fast tracked his career by prioritizing the Dinosaur story before all the others. 

“No…” John said, “Because when I read my old work, I’m transported to a moment in my past. I believe in the Butterfly Effect. If I was to go back and change anything, like writing the Dinosaur story first, and it was a failure, then I might have quit writing there. This book only exists because I’ve written all those others. Those books represented a phase I was in. Each idea, only when completed, branches off into others. My books are all part of a family tree, I gave life to them, I gave my life to them, even if the stories are different. They’re my family. In a way, the Dinosaur book is the latest generation and it exists only because of its ancestors. My previous books were all training. I wasn’t ready yet, and the audience wasn’t ready yet. I hope those who read it today can see the improvements I’ve made along the way. I wouldn’t have thought to write the Dinosaur book first, and if I did, who’s to say it wouldn’t be the Alien book that would become popular? It’s not the idea really, it’s the experience.” 

“We always have to keep writing forward and not regret what we created in the past. Learn from it for sure, just like how we should learn from history, but we shouldn’t waste the present trying to change the past. A lot of the stuff we make won’t meet our standards. We might never meet that standard, even if we receive the approval of others. I’m being celebrated, but I know I can do better. We cannot regret what we’ve made in the past, even if people go back and judge us for it. We cannot control the response of the external world. I’m merely a passenger on this journey as much as you are. If I went back in time and even wrote one single word differently, I would’ve killed a butterfly, and everything would be different. I might not be standing here today. Heck, you might not even exist. We have to live with the work we’ve created, as imperfect as they are. But without them, we wouldn’t have this moment now, so no, I wouldn’t do anything different.” 

The boy raised his hand up again. “Do you wish to edit those books now that you’re a better writer?” 

“If you make writing a part of your life, then you’ll know that one word will come after the next. I keep moving forward with my work, because there are new interesting things I’d like to write about. I can’t do that if I keep going back to edit my old pieces and try making them better. If I do that, then I will never finish another story. And there is no saying I would make it better. The Alien story is what it is, and I love it for that. I had a great experience writing it and I was very proud when I was done. I don’t wish to tarnish that experience. I don’t even want to read it really. Only in comparison with the Dinosaur book in terms of sales do I feel shameful about it, but otherwise, I’m grateful for it. If I go back to edit the Alien story, I might be messing with what was meant to be. I’m focusing on what I’m interested in writing next, my next project.” 

The boy’s hand shot up again. “And that will be another Dinosaur book?” 

John simpered and said, “Only time will tell…” 

How do you feel about the Butterfly Effect of writing? Let me know in the comments below. And if you are thinking about revisiting an old project? Maybe it’s not a terrible idea. Check out this article about the 4 reasons to revisit old work.

For more writing and editing inspiration and stories, please consider signing up for my mailing list. You won’t receive emails from me often, but when you do, it’ll include only works that I’m most proud of.

Why I Narrated The Metamorphosis by Franz Kafka Audiobook

About a month after I finished Typing The Great Gatsby, I decided to embark on another “endurance” challenge. Something that would help me get granular with a piece of work, much like what Typing The Great Gatsby did

While typing a whole novel (on camera) was a speed challenge, my next project should encourage me to go deeper, seek precision, and feel the flow of the words on the page. Then it dawned on me, I should narrate an audiobook. 

Narrating an audiobook is more than reading a book aloud, it’s storytelling. It’s a presentation. It’s about the tone, mood, and pacing of the words. It’s not only pronouncing the words properly, it’s about dramatizing the text on the page in an engaging way. 

I knew Metamorphosis by Franz Kafka would be the perfect source material for this project. It’s a story localized to one setting, with a small cast of characters, and a manageable length (in this version translated by Ian Johnston) just north of 20,000 words. It wasn’t going to be easy, but it was doable. Thinking something is doable is all it takes to start. 

I recorded the first word on January 3, 2021 and the last word on April 22, 2021. From the moment you start listening to my version to the last, nearly five months have passed. I see it as a form of time travelling. 

There were moments where I felt like quitting. Staying up an extra 30-45 minutes on a weeknight to record 3 minutes of usable audio is as tiring as it sounds. Yet, once I got over the hump, I knew I had to finish. Like going to the gym consistently, I noticed results in a few areas. 

Speaking Clearly: 

When we’re speaking to a friend, a family member, or a co-worked in a casual conversation, we slur our words, we mumble, and rarely do we enunciate every syllable. You think you speak clearly until you turn a microphone on yourself and hit record. The importance of being heard and understood for an audiobook is critical and therefore, it was a muscle I focused on exercising. Working on this project gave me an avenue to practice articulating my words, without having a conversation with anyone. 

Understanding the Words:

When we’re writing, we can pause, research a word, find synonyms, and generally sound smarter. When we talk, we can’t do that. We’re limited to the words in our vocabulary. And if you’re like me, you really only use the same hundred or so words. However, when we read out loud someone else’s writing, we gain access not only to the words they know, but probably words they took the effort in researching as well. There were at least ten words in The Metamorphosis that I had never used before. One example is the word “amelioration.” I’ve never heard of that word, let alone said it out loud. I don’t know if I’ll ever use it again in daily life, (I’d probably sound pretentious if I do) but hey, I clearly remember it, because I’m writing about it now. How can I put a price on that? 

Feeling the Flow of the Sentences: 

In this translation of The Metamorphosis, Ian Johnston used a lot of long, complex sentences, many over 50 words long with multiple commas, clauses, and oh boy! Grammar grammar! Now, if you were just reading word for word, it doesn’t matter how the sentences flow together (think Stephen Hawking’s robot voice), but an audiobook isn’t just saying one word after the next, it’s presenting the sentences as though they were thoughts from your brain. A few takes are necessary to get the right flow of the sentence, in terms of knowing which words to accentuate, where to take a breath, and which tone of voice matches the scene. 

Directing Myself:

100% of the words recorded in this audiobook were said by me after 9pm, as I’m fighting the exhaustion of the day. Sometimes, in that fugue state, I end up messing up over and over again. Or… I thought I was messing up, but it was a perfectly usable take. Nevertheless, I would try again and mess up some more. A paragraph that should’ve taken three minutes to record ended up taking twenty. 

Learning to direct yourself is an underrated skill. It involved learning how to be gentle with yourself, learning how to manage expectations, learning how to break a large chunk into smaller sections, and most importantly, learning when good enough is good enough. This project took me six months to complete. It could’ve taken less time and it could’ve taken more time. Either way, I’m glad I’m done.  

Hearing My Own Voice: 

I never thought that I had a radio voice or a Morgan Freeman voice where anything I say would be buttery smooth to my listener’s ears. No, you won’t listen to my voice for the pleasure of my voice alone. Then again, it’s the only voice I have and I want it to try new things. Like a body should exercise and travel, a voice should be challenged as well. You want it to be strong so when the time is right, you have the confidence to speak. I hope to one day record the Audible version for my own book. One day. 

Narrating The Metamorphosis was a challenge and a fulfilling way to pass some time during these pandemic months. Only time will tell how much I really got out of it, but truthfully, it was so much fun to do that I’m looking forward to the next audiobook I’ll narrate. I have a few in mind… Stay tuned. 

For more writing and editing inspiration and stories, please consider signing up for my mailing list. You won’t receive emails from me often, but when you do, it’ll include only works that I’m most proud of.