"Writing for me is cutting out the fat and getting to the meaning"
About this Quote
McBride frames writing less as inspiration than as surgery: a disciplined violence against excess in service of clarity. “Cutting out the fat” borrows from the language of butchers and editors, turning craft into an embodied act. The metaphor is blunt on purpose. It rejects the romantic image of the novelist as a vessel for beautiful sentences and replaces it with a worker’s ethos: revision is where the art happens, and sentimentality is a kind of waste product.
The subtext is a quiet argument about power. In a culture that rewards maximalism - big feelings, big backstories, big word counts - McBride insists that meaning doesn’t arrive through accumulation. It arrives through selection. To cut is to decide what the reader doesn’t need, which is also a way of respecting the reader’s time and intelligence. The line carries a moral edge: “fat” isn’t just filler, it’s self-indulgence, the author talking to hear himself talk.
Context matters with McBride. His work often moves between memoir, history, and fiction, tethered to lived experience and community memory. When he says “getting to the meaning,” he’s not chasing abstraction; he’s trying to deliver something felt and usable. The intent is practical: write so the story can do its job - transmit truth, hold attention, and land emotionally without the cushion of ornamental prose. It’s a credo that doubles as a warning: if you won’t cut, you don’t really know what you mean yet.
The subtext is a quiet argument about power. In a culture that rewards maximalism - big feelings, big backstories, big word counts - McBride insists that meaning doesn’t arrive through accumulation. It arrives through selection. To cut is to decide what the reader doesn’t need, which is also a way of respecting the reader’s time and intelligence. The line carries a moral edge: “fat” isn’t just filler, it’s self-indulgence, the author talking to hear himself talk.
Context matters with McBride. His work often moves between memoir, history, and fiction, tethered to lived experience and community memory. When he says “getting to the meaning,” he’s not chasing abstraction; he’s trying to deliver something felt and usable. The intent is practical: write so the story can do its job - transmit truth, hold attention, and land emotionally without the cushion of ornamental prose. It’s a credo that doubles as a warning: if you won’t cut, you don’t really know what you mean yet.
Quote Details
| Topic | Writing |
|---|---|
| Source | Help us find the source |
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