Top 15 Natalie Goldberg Quotes

We give a lot of names to our excuses, to the reasons we don't want to write or we're afraid to. 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. Shut up and write. […] It's pretty nice to be talented. If you are, enjoy, but it won't take you that far. Work takes you a lot further.
[…] In writing I have confidence. Because I say I'm going to do it and I do it. That's all. Writing is the one thing in my life I continually show up for. I have given 100 percent to writing practice. That's what builds confidence. […] Don't be tossed away by your monkey mind. … These little voices are constantly going to be nagging at us. If you make a decision to do something, you do it. Don't be tossed away. … Don't be thrown off by yourself or anyone else. Let your big mind move forward.

Anything we fully do is an alone journey. […] You are alone when you write a book. Accept that and take in any love and support that is given to you, but don't have expectations of how it is supposed to be.

As you reread, circle whole sections that are good in your notebooks. They often glow off the page and are obvious. […] Naturally, there should be a place for editing and revision, but when we hear the word editor, we think, "Okay. I let the creator in me go wild, but now I'm going to get back to the proper, conventional, rational state of mind and finally get things in order." We bring out the man or woman in a tweed suit from the East Coast with a doctorate in literature who is critical of everything. Don't do that. That person in the tweed suit is just another disguise for the ego that is trying to get control of things any way it can. […] Instead, when you go over your work, become a Samurai, a great warrior with the courage to cut out anything that is not present.

But last night we started to work with the Samurai. Tom brought in a loosely finished piece, xeroxed copies, and we went over it. First of all, we looked for where there was energy. It was mainly in the third paragraph. William Carlos Williams said to Allen Ginsberg: "If only one line in the poem has energy, then cut the rest out and leave only that one line." That one line is the poem. Poetry is the carrier of life, the vessel of vitality. Each line should be alive. Keep those parts of a piece; get rid of the rest. […] it's where our writing is burning through to brilliance that it finally becomes a poem or prose piece. And anyone can hear the difference. Something that comes from the source, from first thoughts, wakes and energises everyone. I've seen it many times in a writing group. When someone reads a really hot piece, it excites everyone. Be willing to look at your work honestly. If something works, it works. If it doesn't, quit beating an old horse. Go on writing. Something else will come up. There's enough bad writing in the world. Write one good line, you'll be famous. Write a lot of lukewarm pieces, you'll put people to sleep.

See the big picture. You are committed to writing or finding out about it. Continue under all circumstances. Don't be rigid though.

Wait until you are hungry to say something, until there is an aching in you to speak. Then come back.
Don't worry. You won't have lost time. Your energy will be more direct and less wasted.

What is important is not just what you do - "I am writing a book" - but how you do it, how you approach it, and what you come to value.
[…] There are many realities. We should remember this when we get too caught in being concerned about the way the rest of the world lives or how we think they live.

Push yourself beyond when you think you are done with what you have to say. […] It is beyond the point when you think you are done that often something strong comes out.

Just write. Just write. Just write. [...] When we are in the heart of writing it doesn't matter where we are. We can write anyplace.

Writers write about things that other people don't pay much attention to. […] A writer's job is to make the ordinary come alive, […] When we live in a place for too long, we grow dull. We don't notice what is around us. That is why a trip is so exciting. We are in a new place and see everything in a fresh way.

If you want a room to write in, just get a room. Don't make a big production out of it. If it doesn't leak, has a window, heat in the winter, then put in your desk, bookshelves, a soft chair, and start writing.

The world isn't always black and white. A person may not be sure if she can go some place, but it is important, especially for a beginning writer, to make clear, assertive statements. "This is good." "It was a blue horse." Not "Well, I know it sounds funny but I think it was a blue horse." […] After I read the article, I went home and looked at a poem I had just written. I made myself take out all the vague, indefinite words and phrases. […] It made the poem much better.

As writers we have to walk in the world in touch with that present, alert part of ourselves, that animal sense part that looks, sees, and notices - street signs, corners, fire hydrants, newspaper stands.

Be specific. "Don't say "fruit". Tell what kind of fruit. Learn the names of everything: birds, cheese, tractors, cars, buildings.

Read a lot, listen well and deeply, and write a lot. […]
If you read good books, when you write, good books will come out of you.