Sandra Cisneros Writing Quotations

I am a woman, and I am a Latina. Those are the things that make my writing distinctive. Those are the things that give my writing power.

And the nice thing about writing a novel is you take your time, you sit with the character sometimes nine years, you look very deeply at a situation, unlike in real life when we just kind of snap something out.

We need to write because so many of our stories are not being heard. Where could they be heard in this era of fear and media monopolies? Writing allows us to transform what has happened to us and to fight back against what's hurting us. While not everyone is an author, everyone is a writer and I think that the process of writing is deeply spiritual and liberatory.

The ideal for me is to mix it up. When I have a writing workshop, I like to have people that are anthropologists and people who are poking around in other fields, I like to have them all in the same workshop, and not worry about genre.

I began writing as an experimental writer.

Heartbreak allows us to also experience joy and love but you have to walk through heartbreak to even know what joy is. Heartbreak is a constant and it is even necessary. It allows us the opportunity of introspection and exploration. Those processes are what is necessary to write and engage in the arts.

Every book changes my writing because I'm always trying to do something I didn't do before. I try to do what's hard for me, what I haven't done in the past.

Write about what makes you different.

The only reason we write - well, the only reason why I write; maybe I shouldn't generalize - is so that I can find out something about myself. Writers have this narcissistic obsession about how we got to be who we are. I have to understand my ancestors - my father, his mother and her mother - to understand who I am. It all leads back to the narcissistic pleasure of discovering yourself.

You have to remember that writing itself is so solitary. You start writing because you're lonely.

I didn't intend to be writing - the writer's life. I was just writing what came to me at the time, but it is a map of how this writer had to break many barriers to find, not a room of her own, but a house of her own.

I lose things. I write things and they disappear from my desk, my life. I move a lot. I wanted to gather them and put them under one roof, under one cover, so I could document my life in a series of snapshots.

It's difficult for me to have a large story, a very large story - a novel is a large story. I'm used to writing and doing these little miniature paintings.

You meditate and then you can put on your pajamas, or you can imagine you're wearing your pajamas, and you talk about your piece of writing in the language you would use if you were wearing your pajamas and you were seated at a table with your very good friend. And you wouldn't have to get all dressed up or clean up the table.

Writing poetry helps me to write my fiction; each thing helps the other.

When your writing is unselfconscious, when it comes from your heart, that's when it's powerful.

I was looking at a lot of experimental writers, and I was very intrigued by short-short fiction, writers who would write little things, what I call buttons now, little vignettes.

I can't stand it when people say, "If you're writing a novel, you should read this and that." Because it's like giving someone another person's prescription. How do you know that's what they need?

I don't really think our government at heart wants peace. So I urge you, write to Mrs. Laura Bush, because she reads.

[Jorge Luis Borges] had short stories, and I was trying to learn how to write short stories, and then he had these things in the middle that were like fables, and I loved hearing fables.

I remember I was very taken with a book called DreamTigers by [Jorge Luis] Borges. He was at the University of Texas, Austin, and they collected some of his writings and put them in a little collection. It's called DreamTigers in English, but it doesn't exist in Spanish. It's a little sampler. But that collection in English is what struck me, because in there he has his poems, and I was a poet as well as a fiction writer.

[Writing is like fishing]. You don't bow because you made the fish. That's the difference. If you know that, then you bow for your labor.You crafted, you worked, you put in those hours so that you could catch that fish. But you didn't make that fish. You just caught the fish. That will help you stay humble and bow for the right reason and be very lucid about the work you do.

I tell people to write the stories that you're afraid to talk about, the stories you wish you'd forget, because those have the most power. Those are the ones that have the most strength when you give them as a testimony.

The comments you'll get from a filmmaker about your performance are going to be very different. My writing workshop is about mixing it up, cross-pollinating, not only in genres but in occupations.

You know how sometimes you meet writers that are so full of themselves? They feel really proud that they wrote something . But what they don't understand - and I like to tell this to writers - is that writing is like fishing. It's just like fishing. If you don't fish that often, you're not going to catch that many fish.

I don't want to blame anybody, but I just want to tell you that the process of writing is antisocial, so on the days that you have something really important to write, go from lying down directly to your notepad or your computer. Do not talk.

My Spanish is a daughter's Spanish. I write, but my Spanish really is very limited.

I want to thank you, especially those people who are agnostic or atheist. I don't mean any offense by the things I said of the spirit world. Thank you for allowing me to speak about the spiritual, because I can't talk about my life or writing without mentioning that.

Something I always tell students is, when you're writing something, you want to write the first draft and you want it to come out easily in the beginning. If you're afraid to say what you really have to say, you stammer. You're judging yourself, you know, thinking about your listener. You're not thinking about what you're saying. And that same thing happens when you write.

I want to write an essay called "Fear of Mexico," because I always feel like Mexico's this lover that never writes to me.

When I was writing Caramelo the last couple of years, a sixty-hour work week was normal. And now I'm lucky if I have eight hours.

You know, we should have cards like the deaf have. "Can't talk, I'm writing today."

That's what you need for your writing - to learn how to be present, learn how to be calm. So take that nap, do that meditation.