Anton Chekhov Writing Quotations

Don't tell me the moon is shining; show me the glint of light on broken glass.

It's easier to write about Socrates than about a young woman or a cook.

Is it our job to judge? The gendarme, policemen and bureaucrats have been especially prepared by fate for that job. Our job is towrite, and only to write.

Everyone judges plays as if they were very easy to write. They don't know that it is hard to write a good play, and twice as hardand tortuous to write a bad one.

Anyone who says the artist's field is all answers and no questions has never done any writing or had any dealings with imageryYou are confusing two concepts: answering the questions and formulating them correctly. Only the latter is required of an author.

Write about this man who, drop by drop, squeezes the slave's blood out of himself until he wakes one day to find the blood of a real human being--not a slave's--coursing through his veins.

A writer should not so much write as embroider on paper; the work should be painstaking, laborious.

The critics suppose that it is easy to write a play. They aren't aware that writing a good play is difficult and writing a bad one is twice as hard.

If in the first act you have hung a pistol on the wall, then in the following one it should be fired. Otherwise don't put it there.

I let myself go at the beginning and write with an easy mind, but by the time I get to the middle I begin to grow timid and to fear my story will be too long. . .That is why the beginning of my stories is always very promising and looks as though I were starting on a novel, and the middle is huddled and timid, and the end is...like fireworks.

Write only of what is important and eternal.

I abide by a rule concerning reviews: I will never ask, neither in writing nor in person, that a word be put in about my book.... One feels cleaner this way. When someone asks that his book be reviewed he risks running up against a vulgarity offensive to authorial sensibilities.

To a chemist, nothing on earth is unclean. A writer must be as objective as a chemist; he must abandon the subjective line; he must know that dungheaps play a very respectable part in a landscape, and that evil passions are as inherent in life as good ones.

One usually dislikes a play while writing it, but afterward it grows on one. Let others judge and make decisions,

I confess I seldom commune with my conscience when I write.

In descriptions of Nature one must seize on small details, grouping them so that when the reader closes his eyes he gets a picture. For instance, you'll have a moonlit night if you write that on the mill dam a piece of glass from a broken bottle glittered like a bright little star, and that the black shadow of a dog or a wolf rolled past like a ball.

If you look at anything long enough, say just that wall in front of you - it will come out of that wall.

When men ask me how I know so much about men, they get a simple answer: everything I know about men, I learned from me.

Try to be original in your play and as clever as possible; but don't be afraid to show yourself foolish; we must have freedom of thinking, and only he is an emancipated thinker who is not afraid to write foolish things.

Women writers should write a lot if they want to write. Take the English women, for example. What amazing workers.

Write, write, write-till your fingers break.

I am writing a play which I probably will not finish until the end of November. I am writing it with considerable pleasure, though I sin frightfully against the conventions of the stage. It is a comedy with three female parts, six male, four acts, a landscape (view of the lake), lots of talk on literature, little action and tons of love.

Everything I have written up to now is trifling compared to that which I would like to write and would write with great pleasureEither I am a fool and a self-conceited person, or I am a being capable of becoming a good writer; I am displeased and bored with everything now being written, while everything in my head interests, moves, and excites me-whence I draw the conclusion that no one is doing what is needed, and I alone know the secret of how it should be done. In all likelihood everyone who writes thinks that. In fact, the devil himself will be brought to his knees by these questions.

My own experience is that once a story has been written, one has to cross out the beginning and the end. It is there that we authors do most of our lying.

He is an emancipated thinker who is not afraid to write foolish things.

It's not a matter of old or new forms; a person writes without thinking about any forms, he writes because it flows freely from his soul.

If an intelligent, educated, and healthy man begins to complain of his lot and go down-hill, there is nothing for him to do but to go on down until he reaches the bottom--there is no hope for him. Where could my salvation come from? How can I save myself? I cannot drink, because it makes my head ache. I never could write bad poetry. I cannot pray for strength and see anything lofty in the languor of my soul. Laziness is laziness and weakness weakness. I can find no other names for them. I am lost, I am lost; there is no doubt of that.

When describing nature, a writer should seize upon small details, arranging them so that the reader will see an image in his mind after he closes his eyes. For instance: you will capture the truth of a moonlit night if you'll write that a gleam like starlight shone from the pieces of a broken bottle, and then the dark, plump shadow of a dog or wolf appeared. You will bring life to nature only if you don't shrink from similes that liken its activities to those of humankind.

Cross out as many adjectives and adverbs as you can. ... It is comprehensible when I write: "The man sat on the grass," because it is clear and does not detain one's attention. On the other hand, it is difficult to figure out and hard on the brain if I write: "The tall, narrow-chested man of medium height and with a red beard sat down on the green grass that had already been trampled down by the pedestrians, sat down silently, looking around timidly and fearfully." The brain can't grasp all that at once, and art must be grasped at once, instantaneously.