"I write when the urge hits me, getting the words down as fast as I can type and then I step back from what I just wrote and start a dialectical process where I begin challenging my own writing"
About this Quote
Creative work rarely gets described as both a sprint and a courtroom, but McKay’s line thrives on that tension. The first move is pure velocity: “when the urge hits me,” “as fast as I can type.” It’s an argument for momentum over preciousness, a refusal to mistake hesitation for rigor. The phrasing makes inspiration sound almost physical, something that arrives uninvited and demands immediate transcription. That urgency doubles as permission: you’re allowed to be messy at the start because the goal is capture, not perfection.
Then the quote pivots into a designer’s real religion: iteration. “I step back” is the critical act of creating distance from your own instincts, treating the draft like an object on a table rather than an extension of your ego. Calling the next stage “dialectical” is telling. McKay isn’t talking about polishing prose; he’s talking about structured conflict, a deliberate internal debate where the work meets its opposition. It’s critique as method, not mood.
The subtext is a quiet antidote to two common creative myths: that good work arrives fully formed, and that self-criticism is inherently corrosive. McKay proposes a two-phase engine: unfiltered generation followed by principled skepticism. Context matters, too: as a designer, he’d be trained to prototype fast, test assumptions, and let constraints argue back. The intent isn’t to romanticize the muse; it’s to institutionalize doubt after the fact, when it can improve the work instead of stopping it from existing.
Then the quote pivots into a designer’s real religion: iteration. “I step back” is the critical act of creating distance from your own instincts, treating the draft like an object on a table rather than an extension of your ego. Calling the next stage “dialectical” is telling. McKay isn’t talking about polishing prose; he’s talking about structured conflict, a deliberate internal debate where the work meets its opposition. It’s critique as method, not mood.
The subtext is a quiet antidote to two common creative myths: that good work arrives fully formed, and that self-criticism is inherently corrosive. McKay proposes a two-phase engine: unfiltered generation followed by principled skepticism. Context matters, too: as a designer, he’d be trained to prototype fast, test assumptions, and let constraints argue back. The intent isn’t to romanticize the muse; it’s to institutionalize doubt after the fact, when it can improve the work instead of stopping it from existing.
Quote Details
| Topic | Writing |
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