Natalie Goldberg quotes:

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  • Trust in what you love, continue to do it, and it will take you where you need to go.

  • That's very nice if they want to publish you, but don't pay too much attention to it. It will toss you away. Just continue to write.

  • I feel that 'The Great Failure' is really a book written out of great love and a willingness to face all of who a human being is.

  • When you write what you know, you stay in control. One of the first things I encourage my writing students to do is to lose control - say what they want to say, break structure.

  • Too often we take notes on writing, we think about writing but never do it. I want you to walk into the heart of the storm, written words dripping off hair, eyelids, hanging from hands.

  • I used to think freedom meant doing whatever you want. It means knowing who you are, what you are supposed to be doing on this earth, and then simply doing it.

  • If you feel bored or uncomfortable as you're writing, ask yourself what's bothering you and write about that. Sometimes your creative energy is like water in a kinked hose, and before thoughts can flow on the topic at hand, you have to straighten the hose by attending to whatever is preoccupying you.

  • Whether you're keeping a journal or writing as a meditation, it's the same thing. What's important is you're having a relationship with your mind.

  • The correctness and quality of what you write do not matter; the act of writing does.

  • Stress is an ignorant state. It believes that everything is an emergency.

  • We have to look at our own inertia, insecurities, self-hate, fear that, in truth, we have nothing valuable to say. When your writing blooms out of the back of this garbage compost, it is very stable. You are not running from anything. You can have a sense of artistic security. If you are not afraid of the voices inside you, you will not fear the critics outside you.

  • Failure is what we're all running from, we're always running toward success with failure at our back.

  • Be tough in the way a blade of grass is: rooted, willing to lean, and at peace with what is around it.

  • It is odd that we never question the feasibility of a football team practicing long hours for one game; yet in writing we rarely give ourselves the space for practice.

  • Stress is basically a disconnection from the earth, a forgetting of the breath. Stress is an ignorant state. It believes that everything is an emergency. Nothing is that important. Just lie down.

  • Stress is basically a disconnection from the earth, a forgetting of the breath.

  • So writing is not just writing. It is also having a relationship with other writers. And don't be jealous, especially secretly. That's the worst kind. If someone writes something great, it's just more clarity in the world for all of us.

  • I honor English majors. It's a dumb thing to major in. It leads nowhere. It's good to be dumb, it allows us to love something for no reason. That's the best kind of love.

  • Life is not orderly. No matter how we try to make it so, right in the middle of it we die, lose a leg, fall in love, or drop a jar of applesauce.

  • A writer's job is to give the reader a larger vision of the world.

  • I consider writing practice a true Zen practice because it all comes back at you. You can't fool anyone because it's on the page.

  • 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.

  • Sometimes when you think you are done, it is just the edge of beginning. Probably that's why we decide we're done. It's getting too scary. We are touching down onto something real. It is beyond the point when you think you are done that often something strong comes out.

  • Women need space and silence. We too quickly give away our energy. There's something about holding that richness.

  • When you bring the darkness to the table, it doesn't rule you or hurt other people, but when we keep it secret, it's dangerous.

  • Talk when you talk, walk when you walk, and die when you die.

  • Katagiri Roshi says: "Poor artists. They suffer very much. They finish a masterpiece and they are not satisfied. They want to go on and do another." Yes, but it's better to go on and do another if you have the urge than to start drinking and become alcoholic or eat a pound of good fudge and get fat.

  • Great lovers realize that they are what they are in love with.

  • Women are wonderful, but they get so caught up about their body. We need to unhook from worrying so much. When I don't feel good, I look in the mirror and think I look fat and miserable. But when I feel good and whole, I'm not worried about my body because I'm living in it. It doesn't become an object.

  • 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

  • Poems are taught as though the poet has put a secret key in his words and it is the reader's job to find it. Poems are not mystery novels.

  • Actually, every time we begin, we wonder how we did it before, Each time is a new journey with no maps.

  • After you have finished a piece of work, the work is then none of your business. Go on and do something else.

  • We must remember that everything is ordinary and extraordinary. It is our minds that either open or close.

  • There's no such thing as a writer's block. If you're having trouble writing, well, pick up the pen and write. No matter what, keep that hand moving. Writing is really a physical activity.

  • Our lives are at once ordinary and mythical. At the same instant we have these magnificent hearts that pump through all sorrow and all winters we are alive on the earth.

  • 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...

  • poems are small moments of enlightenment

  • I remember a friend many years ago who had taped a sign to his refrigerator: There's a dream dreaming us. If you try to think about what that means it makes your mind silly, but that silliness is good.

  • If you're having difficulty coming up with new ideas, then slow down. For me, slowing down has been a tremendous source of creativity. It has allowed me to open up -- to know that there's life under the earth and that I have to let it come through me in a new way. Creativity exists in the present moment. You can't find it anywhere else.

  • Never underestimate people. They do desire the cut of truth.

  • We are important and our lives are important, magnificent really, and their details are worthy to be recorded.

  • Life is not orderly. No matter how we try to make life so, right in the middle of it we die, lose a leg, fall in love, drop a jar of applesauce.

  • Read books. They are good for us.

  • [T]he one thing I want for you is to recognize when you are really singing in writing practice and honor that. Trust that. When you were screaming on the page. Maybe that doesn't make a whole book but that is the true seed.

  • A responsibility of literature is to make people awake, present, alive. If the writer wanders, then the reader, too, will wander.

  • A writer must say yes to life.

  • Actually, when I look at my old notebooks, I think I have been a bit self-indulgent and have given myself too much time to meander in my discursive thoughts. I could have cut through sooner. Yet it is good to know about our terrible selves, not laud or criticize them, just acknowledge them. Then, out of this knowledge, we are better equipped to make a choice for beauty, kind consideration and clear truth. We make this choice with our feet firmly on the ground. We are not running wildly after beauty with fear at our backs.

  • All of us can create if we allow ourselves to.

  • And we can't avoid an inch of our own experience; if we do it causes a blur, a bleep, a puffy unreality. Our job is to wake up to everything, because if we slow down enough, we see that we are everything.

  • As writers we live life twice, like a cow that eats its food once and then regurgitates it to chew and digest it again. We have a second chance at biting into our experience and examining it. ...This is our life and it's not going to last forever. There isn't time to talk about someday writing that short story or poem or novel. Slow down now, touch what is around you, and out of care and compassion for each moment and detail, put pen to paper and begin to write.

  • As writers we need to crack open language.

  • At the moment our rational mind stops, hits against a wall ... something else happens. And a bigger mind, like a pearl, rolls in a silver bowl.

  • Be awake to the details around you, but don't be self-conscious.

  • Because I've been doing my practice for so long, I knew what to do even under really hard circumstances.

  • Can we walk that thin line between constant change and continuation? And in the middle of this flux, feel gratitude but not hold on? Gratitude greases the joints to let us let go, and at the same time to stop and realize we received something. Gratitude is the most developed and mature of human emotions.

  • Choose your tools carefully, but not so carefully that you get uptight or spend more time at the stationery store than at your writing table.

  • Clarity and perseverance are difficult in American society because the basis of capitalism is greed and dissatisfaction.

  • Creativity exists in the present moment. You can't find it anywhere else.

  • Creativity is no big deal.

  • Don't let yourself be thrown away....Continue on no matter what....Continue to make a positive effort for the good.

  • Even an ice cream parlor - a definite advantage - does not alleviate the sorrow I feel for a town lacking a bookstore.

  • Finally, if you want to write, you have to just shut up, pick up a pen, and do it. I'm sorry there are no true excuses. This is our life. Step forward. Maybe it's only for ten minutes. That's okay. To write feels better than all the excuses.

  • Finally, one just has to shut up, sit down, and write.

  • First thoughts have tremendous energy. The internal censor usually squelches them, so we live in the realm of second and third thoughts, thoughts on thought, twice and three times removed from the direct connection of the first fresh flash.

  • 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.

  • Friends open the door for me to write. Then I get paid attention to and it allows me to write other books. The Great Spring and the thirtieth anniversary of Bones just came out and while I'm happy and excited about that, I've already finished a new book. That's what practice does. You don't get caught.

  • Handwriting is more connected to the movement of the heart.

  • Have compassion for yourself when you write. There is no failure - just a big field to wander in.

  • I came out with a book called The True Secret of Writing: Connecting Life with Language. It's a book that describes how writing is a practice and how my teaching is part of that practice. I direct the writing and create books but underneath, there's always the river of practice happening. No good, no bad. Just do it.

  • I consider writing a legitimate Zen practice.

  • I don't know anything but writing practice, and so what I really do is direct that energy as if it were flowing down a river.

  • I don't mean to be flippant about cancer - it was hard, it was tough and it was scary. Then my next manuscript was about cancer because I had a whole new topic to write about. And because I wrote, it didn't take over. Writing took the chaos out of cancer.

  • I don't think everyone wants to create the great American novel, but we all have a dream of telling our stories-of realizing what we think, feel, and see before we die. Writing is a path to meet ourselves and become intimate.

  • I feel very rich when I have time to write and very poor when I get a regular paycheck and no time at my real work.

  • I had cancer for fourteen months and wrote a memoir about the experience.

  • I have students that I tell, "If your book doesn't sell or you can't publish it, write another book. Quit sitting around." The publishing world is a business, but it's not any big deal. An editor is not your guru. Your agent is not your guru.

  • 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!

  • I love and care about literature, and great writers are our teachers. You're studying their mind when you read their work.

  • I often wonder if all the writers who are alcoholics drink a lot because they aren't writing. It is not because they are writers that they are drinking, but because they are writers who are not writing.

  • I read Eve Ensler and thought it was fabulous. Not only that, but it was really the only thing I could relate to about cancer.

  • I still write with pen and paper and have someone type it on a computer. But rewriting I do by hand.

  • I think book publishing is fun, but I also know I've been very lucky.

  • I told all kinds of stories about going to Japan, about playing ball with my father... I wanted to record my life in case it was going to end soon. So, I wrote that and it was very comforting to have that practice in the afternoons in my living room. I just wrote about my life.

  • I write because I am alone and move through the world alone. No one will know what has passed through me... I write because there are stories that people have forgotten to tell, because I am a woman trying to stand up in my life... I write out of hurt and how to make hurt okay; how to make myself strong and come home, and it may be the only real home I'll ever have.

  • If I didn't have that, fear and projections over what was coming next could have taken over. But it was tough. Don't think I was an angel. It was hell.

  • If you are not afraid of the voices inside you, you will not fear the critics outside you.

  • If you love the work, it will love you back.

  • If you read good books, when you write, good books will come out of you.

  • I'm never ashamed to read a book twice or as many times as I want. We never expect to drink a glass of water just once in our lives. A book can be that essential, too.

  • In a way, the cancer became an ally because it stopped me from running around so much. I was able to settle down and write things I hadn't had a chance to before.

  • In the end, you have to just sit down, shut up, and write.

  • In the middle of the world, make one positive step. In the center of chaos, make one definitive act. Just write.

  • In the past few years I've assigned books to be read before a student attends one of my weeklong seminars. I have been astonished by how few people -- people who supposedly want to write -- read books, and if they read them, how little they examine them.

  • In the West, a teacher imparts knowledge to a student. In the East, a teacher transmits nothing more or less than his or her Being.

  • In writing with detail, you are turning to face the world. It is a deeply political act, because you are not staying in the heat of your own emotions. You are offering up some good solid bread for the hungry.

  • Indefinite plans get dubious results.

  • It is simply that person's time. Ours will come in this lifetime or the next. No matter. Continue to practice.

  • It is very important to go home if you want your work to be whole. You don't have to move in with your parents again and collect a weekly allowance, but you must claim where you come from and look deep into it. Come to honor and embrace it, or at the least, accept it.

  • 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.

  • It's much better to be a tribal writer, writing for all people and reflecting many voices through us, than to be a cloistered being trying to find one peanut of truth in our own individual mind. Become big and write with the whole world in your arms.

  • 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.

  • keep your hand moving

  • Kill the idea of the lone, suffering artist. Don't make it any harder on yourself.

  • Know that you will eventually have to leave everything behind; the writing will demand it of you.

  • Learning to write is not a linear process. There is no logical A-to-B-to-C way to become a good writer. One neat truth about writing cannot answer it all. There are many truths. To do writing practice means to deal ultimately with your whole life.

  • 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.

  • Life is not orderly. No matter how we try to make life so, right in the middle of it we die, lose a leg, fall in love, drop a jar of applesauce. In summer, we work hard to make a tidy garden, bordered by pansies with rows or clumps of columbine, petunias, bleeding hearts. Then we find ourselves longing for the forest, where everything has the appearance of disorder; yet we feel peaceful there.

  • Literature gives us the great gift of the present moment.

  • My goal is to write every day. I say it is my ideal. I am careful not to pass judgment or create anxiety if I do not do it. No one lives up to his ideal.

  • Nobody cares much whether you write or not. You just have to do it

  • Oh, my passion! That is what finally carried me through. Let passion burn all the way, heating up every layer of the psyche.

  • Once you have learned to trust your own voice and allowed that creative force inside you to come out, you can direct it to write short stories, novels, and poetry, do revisions, and so on. You have the basic tool to fulfill your writing dreams. But beware. This type of writing will uncover other dreams you have, too-going to Tibet, being the first woman president of the United States, building a solar studio in New Mexico-and they will be in black and white. It will be harder to avoid them.

  • One poem or story doesn't matter one way or the other. It's the process of writing and life that matters.

  • Original details are very ordinary, except to the mind that sees extraordinariness. it's not that we need to go to the Hopi mesas to see greatness; we need to view what we already have in a different way.

  • Our bodies are garbage heaps: we collect experience, and from the decomposition of the thrown-out eggshells, spinach leaves, coffee grinds, and old steak bones out of our minds, come nitrogen, heat, and very fertile soil. Out of this fertile soil bloom our poems and stories. But this does not come all at once. It takes time. Continue to turn over and over the organic details of your life until some of them fall through the garbage of discursive thoughts to the solid ground of black soil.

  • Our job as writers is to listen, to come home to the four corners of the earth.

  • Over and over, we have to go back to the beginning. We should not be ashamed of this. It is good. It's like drinking water.

  • Play around. Dive into absurdity and write. Take chances. You will succeed if you are fearless of failure.

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