"It took me about three years to write About Grace. I wasn't teaching two of those years, so I was working eight-hour days, five days a week. And it would include research and reading - it wasn't just a blank page, laying down words"
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Doerr makes craft sound less like inspiration and more like labor with receipts. The specificity matters: three years, eight-hour days, five days a week. He’s not romanticizing the novelist as a haunted genius; he’s describing a schedule. That blunt arithmetic quietly rebukes the common cultural fantasy that good writing arrives in lightning bolts, or that productivity is measured by word count alone.
The subtext is also defensive in a way writers will recognize. “It wasn’t just a blank page” pushes back against the caricature of fiction as pure invention, as if the author simply sits down and “makes it up.” Doerr insists on the hidden scaffolding: research, reading, the slow accumulation of facts and textures that make a story feel lived-in. He’s positioning the novel as an act of scholarship as much as imagination, where time is spent not only producing sentences but earning them.
Contextually, this is a contemporary writer talking in a marketplace that fetishizes speed (draft in 30 days, publish a book a year) and treats attention as a dwindling resource. By mentioning he wasn’t teaching, Doerr signals the economic reality underneath the art: sustained creative work often requires rare blocks of uninterrupted time. The intent isn’t to humblebrag about discipline; it’s to reframe what “working” on a novel actually means, and to argue for patience as a prerequisite for depth.
The subtext is also defensive in a way writers will recognize. “It wasn’t just a blank page” pushes back against the caricature of fiction as pure invention, as if the author simply sits down and “makes it up.” Doerr insists on the hidden scaffolding: research, reading, the slow accumulation of facts and textures that make a story feel lived-in. He’s positioning the novel as an act of scholarship as much as imagination, where time is spent not only producing sentences but earning them.
Contextually, this is a contemporary writer talking in a marketplace that fetishizes speed (draft in 30 days, publish a book a year) and treats attention as a dwindling resource. By mentioning he wasn’t teaching, Doerr signals the economic reality underneath the art: sustained creative work often requires rare blocks of uninterrupted time. The intent isn’t to humblebrag about discipline; it’s to reframe what “working” on a novel actually means, and to argue for patience as a prerequisite for depth.
Quote Details
| Topic | Writing |
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