"But, somewhere in there, I did have the thought that this really fits in with my thinking about what I wanted to do; with what has to be done by a writer in order to stay alive as a writer"
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Van Vogt’s sentence reads like a private reassurance overheard mid-doubt: the moment when an instinctive choice stops feeling accidental and starts feeling like a survival tactic. The phrasing is tellingly hedged - "somewhere in there", "I did have the thought" - as if he’s wary of sounding too doctrinaire about creativity. That hesitation is the point. For working writers, especially in the churn of mid-century science fiction markets van Vogt helped define, conviction often arrives in fragments, after the fact, stitched together from deadline pressure and intuition.
The line pivots on a quiet but brutal premise: staying "alive as a writer" isn’t about inspiration, it’s about continuity. Van Vogt isn’t talking about literal life; he’s naming the more common death in creative careers - the slow disappearance that happens when you lose the inner logic of your work, or when the industry trains you to write away from your own obsessions. "What I wanted to do" sits beside "what has to be done" like two competing authorities: desire versus discipline, personal vision versus the craft-and-commerce demands that keep you publishable.
Subtextually, he’s defending a kind of adaptive pragmatism. The writer survives by aligning ambition with necessity, turning external constraints into a framework that still feels internally true. It’s less romantic than the myth of the solitary genius, more useful: a portrait of artistry as maintenance, not fireworks.
The line pivots on a quiet but brutal premise: staying "alive as a writer" isn’t about inspiration, it’s about continuity. Van Vogt isn’t talking about literal life; he’s naming the more common death in creative careers - the slow disappearance that happens when you lose the inner logic of your work, or when the industry trains you to write away from your own obsessions. "What I wanted to do" sits beside "what has to be done" like two competing authorities: desire versus discipline, personal vision versus the craft-and-commerce demands that keep you publishable.
Subtextually, he’s defending a kind of adaptive pragmatism. The writer survives by aligning ambition with necessity, turning external constraints into a framework that still feels internally true. It’s less romantic than the myth of the solitary genius, more useful: a portrait of artistry as maintenance, not fireworks.
Quote Details
| Topic | Writing |
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