Franz Kafka is an idea person. His books begin and end in ideas. Ideas have always been important to me in my writing. To the point that I have to be careful that they don't take over.
All writing is by the grace of God. People do not deserve to have good writing, they are so pleased with bad. In these sentences that you show me, I can find no beauty, for I see death in every clause and every word. There is a fossil or a mummy character which pervades this book. The best sepulchers, the vastest catacombs, Thebes and Cairo, Pyramids, are sepulchers to me. I like gardens and nurseries. Give me initiative, spermatic, prophesying, man-making words.
I, myself, was always recognized . . . as the “slow one” in the family. It was quite true, and I knew it and accepted it. Writing and spelling were always terribly difficult for me. My letters were without originality. I was . . . an extraordinarily bad speller and have remained so until this day.
It is a pity he did not write in pencil. As you have no doubt frequently observed, the impression usually goes through -- a fact which has dissolved many a happy marriage.
For poetry was all written before time was, and whenever we are so finely organized that we can penetrate into that region where the air is music, we hear those primal warblings, and attempt to write them down, but we lose ever and anon a word, a verse, and substitute something of our own, and thus miswrite the poem.
A serious writer is not to be confounded with a solemn writer. A serious writer may be a hawk or a buzzard or even a popinjay, but a solemn writer is always a bloody owl.
It has come to be practically a sort of rule in literature that a man, having once shown himself capable of original writing, is entitled thenceforth to steal from the writings of others at discretion.
Why did I write? whose sin to me unknown
Dipt me in ink, my parents', or my own?
As yet a child, nor yet a fool to fame,
I lisp'd in numbers, for the numbers came.
People will ask me, "How do you approach writing books for young readers differently than for adults?" My answer is always: I don't change anything about the story itself. I'm going to tell kids the way things really were. What I don't do - and this is the only thing I do differently in writing for kids - is that I don't revel in the gory details. I allow readers to fill in the details as necessary. But I don’t force kids to have to digest something they’re not mature enough or ready for yet. If they are, they can fill in the details even better than I could, just with their imaginations.