"Someone once asked Somerset Maugham if he wrote on a schedule or only when struck by inspiration. "I write only when inspiration strikes," he replied. "Fortunately it strikes every morning at nine o'clock sharp.

"Someone once asked Somerset Maughham if he wrote on a schedule or only when struck by inspiration. "I write only when inspiration strikes," he replied. "Fortunately it strikes every morning at nine o'clock sharp.

I write only when inspiration strikes. Fortunately it strikes every morning at nine o'clock sharp.

I only write when I am inspired. Fortunately I am inspired at 9 o'clock every morning.

The routines of almost all famous writers, from Charles Darwin to John Grisham, similarly emphasise specific starting times, or number of hours worked, or words written. Such rituals provide a structure to work in, whether or not the feeling of motivation or inspiration happens to be present. They let people work alongside negative or positive emotions, instead of getting distracted by the effort of cultivating only positive ones. 'Inspiration is for amateurs,' the artist Chuck Close once memorably observed. 'The rest of us just show up and get to work.

Don’t wait for inspiration. It comes while one is working.

("Do you write when you have to? Or when do you write?") GP: I write all the time, in a way. I'm not a very disciplined person. I write. I wrote yesterday, a little. Writing is a habit, among other things, and if you're a writer you'd better get into the habit. A lot of people don't realize that. When I'm writing a story then I'm really writing all the time, wholly involved in it. When I'm not writing a story, I'm still thinking....Susan Sontag once said that she can't wait to get to a typewriter so she'll know what she thinks! And that's true for most writers, that you really have gotten this habit of thinking on paper. Until you do that all you have is a lot of junk in your head, a lot of stuff swirling around, and the paper is the place where you really begin to think. (1979)

Don't wait for inspiration. It comes while working.

If you're going to make a living at this business - more importantly, if you're going to write anything that will last - you have to realise that a lot of the time, you're going to be writing without inspiration. The trick is to write just as well without it as with. Of course, you write less readily and fluently without it; but the interesting thing is to look at the private journals and letters of great writers and see how much of the time they just had to do without inspiration. Conrad, for example, groaned at the desperate emptiness of the pages he faced; and yet he managed to cover them. Amateurs think that if they were inspired all the time, they could be professionals. Professional know that if they relied on inspiration, they'd be amateurs.

Inspiration is for amateurs,' the artist Chuck Close once memorably observed. 'The rest of us just show up and get to work.

"A man is a fool not to put everything he has, at any given moment, into what he is creating. You're there now doing the thing on paper. You're not killing the goose, you're just producing an egg. So I don't worry about inspiration, or anything like that. It's a matter of just sitting down and working. I have never had the problem of a writing block. I've heard about it. I've felt reluctant to write on some days, for whole weeks, or sometimes even longer. I'd much rather go fishing, for example, or go sharpen pencils, or go swimming, or what not. But, later, coming back and reading what I have produced, I am unable to detect the difference between what came easily and when I had to sit down and say, "Well, now it's writing time and now I'll write." There's no difference on paper between the two."

It’s Steven Pressfield’s famous analogy, from his book The War Of Art, for getting work done. The amateur only works when inspiration strikes. The pro sits down every day and puts in steady work. The key is steady. Not irregular or extreme.

There'll be what you might call a moment of inspiration – a way of seeing or feeling or remembering, an instance or a person that's made a large impression. Like the sand and the oyster, it's a creative irritant. In each poem, I'm trying to reveal a truth, so it can't have a fictional beginning

He who is best prepared can best serve his moment of inspiration.