25 C. S. Forester Quotes
The Writer’s Constant Companion
C. S. Forester knew the life of a professional writer. His work never left him. It was there when he woke up. It was there during breakfast. It followed him through every daily task. C. S. Forester Quotes This is the reality of novel writing and the creative process. if you are quotes lover and want to read more quotes than visit Quotes slide.
“The work is with me when I wake up in the morning; it is with me while I eat my breakfast in bed and run through the newspaper, while I shave and bathe and dress.”
Planning on a Different Scale
Writing for a living requires constant thinking. C. S. Forester understood that writing discipline means planning. But the planning changes. The scale shifts. The literary craft demands new approaches and different strategies for each project.
“There is still need to think and plan, but on a different scale, and along different lines.”
The Novelist’s Freedom to Move
C. S. Forester enjoyed a unique freedom. A novelist can move anywhere. A whim can change everything. The English novelist could always use work as his excuse. This is one benefit of the author life – escape from social obligations.
“A whim, a passing mood, readily induces the novelist to move hearth and home elsewhere. He can always plead work as an excuse to get him out of the clutches of bothersome hosts.”
The Sensitivity of a Writer
The British writer compared himself to a princess. Like the princess who felt the pea through seven mattresses, each book was that pea. This shows the deep sensitivity required for literary creativity. Every project irritates and inspires the 20th-century author.
“I must be like the princess who felt the pea through seven mattresses; each book is a pea.”
Thoughts on Legacy and Memory
C. S. Forester thought about death and literary recognition. He imagined a paragraph or two in the newspaper. His name would stay in the British Museum Reading Room catalogue. But who would ask for those books? This reflects his thoughts on mortality and fame.
“When I die there may be a paragraph or two in the newspapers. My name will linger in the British Museum Reading Room catalogue for a space at the head of a long list of books for which no one will ever ask.”
The Flavor of Suspicion
C. S. Forester observed something interesting. Sometimes a suspicion of fraud makes things more interesting. It enhances the flavor. This short statement reveals his understanding of human nature and perception in fiction writing.
“Perhaps that suspicion of fraud enhances the flavor.”
The Impact of Real Emotion
Hollywood represented something false to C. S. Forester. He saw trivial crises there. He saw counterfeit emotions. When he returned to England, he was deeply moved. Real life and real emotion exhausted him. This shows the contrast between authentic experience and manufactured drama.
“Everything was in stark and dreadful contrast with the trivial crises and counterfeit emotions of Hollywood, and I returned to England deeply moved and emotionally worn out.”
Writing with Authentic Voice
The British novelist made a powerful resolution to write authentically. He would never write a word he did not want to write. He would ignore editors and publishers. Only his own personal taste and ideals would guide his writing process. This is true artistic integrity.
“I formed a resolution to never write a word I did not want to write; to think only of my own tastes and ideals, without a thought of those of editors or publishers.”
Linear Writing Approach
C. S. Forester heard of different methods. Some authors start in the middle. Some start at the end. But he never wanted this. His narrative development followed one path. This is his dedication to craft and story structure.
“I have heard of novels started in the middle, at the end, written in patches to be joined together later, but I have never felt the slightest desire to do this.”
Beginning to End Writing
The English novelist believed in one method. You must begin at the beginning. You must continue to the end. There is no other way. This is the foundation of his writing discipline and literary career. if you want to read Quotes on the Fear of God than visit this page.
“There is no other way of writing a novel than to begin at the beginning at to continue to the end.”
When Creativity Flows
C. S. Forester described amazing productivity. The material bubbled up like a geyser. Like an oil gusher. It streamed through his arm. Out of his fountain pen came a torrent of words – six thousand words a day. This is inspiration at its peak.
“The material came bubbling up inside like a geyser or an oil gusher. It streamed up of its own accord, down my arm and out of my fountain pen in a torrent of six thousand words a day.”
Medical Rejection from Service
C. S. Forester went for military service. A doctor examined his heart. The 20th-century author was rejected. He was told to get his papers. This medical rejection shaped his life path and kept him focused on writing for a living.
“The doctor who applied a stethoscope to my heart was not satisfied. I was told to get my papers with the clerk in the outer hall. I was medically rejected.”
The Writer’s Location Freedom
A man who writes for a living has freedom. C. S. Forester did not need to go anywhere specific. And he could rarely afford to travel anyway. This is the work-life balance of a professional writer – freedom in location, limits in finances.
“A man who writes for a living does not have to go anywhere in particular, and he could rarely afford to if he wanted.”
Surprising to Be Alive
The British writer was told something shocking. There was no chance of acceptance for service. They said he should be surprised to still be alive. This reveals the serious health issues that marked C. S. Forester’s life and influenced his author life.
“They managed to find time… to tell me that there was no chance of my being accepted for service and that really I should be surprised to still be alive.”
The Cost of Novel Writing
C. S. Forester spoke plainly. Novel writing wrecks homes. This short, powerful statement reveals the toll of the creative process. The writing obsession destroys normal family life. This is the dark side of dedication to craft.
“Novel writing wrecks homes.”
Practical Details of Travel
The novelist gave specific details. With two people and luggage, she draws four inches of water. Two canoe paddles move her along. This shows C. S. Forester’s attention to practical details, likely from his famous naval fiction work.
“With two people and luggage on board she draws four inches of water. Two canoe paddles will move her along at a speed reasonable enough in moderate currents.”
The Exhaustion of Writing
C. S. Forester called novel writing the most exhausting work he knew. Far and away the hardest. This is not just mental work. It drains everything. The literary craft takes complete emotional exhaustion from the writer.
“Novel writing is far and away the most exhausting work I know.”
The Writer’s Daily Routine
Every morning began with work. C. S. Forester carried his manuscript in his mind through breakfast. Through reading the newspaper. Through shaving and bathing. The writing process consumed every moment of the English novelist’s day.
“The work is with me when I wake up in the morning; it is with me while I eat my breakfast in bed and run through the newspaper, while I shave and bathe and dress.”
Authentic Creation Over Commercial Pressure
The 20th-century author refused compromise. Publishers wanted one thing. Editors wanted another. But C. S. Forester would only follow his own personal ambition and vision. This resolution defined his entire literary career.
“I formed a resolution to never write a word I did not want to write; to think only of my own tastes and ideals, without a thought of those of editors or publishers.”
The Princess and the Pea Metaphor
Like the princess feeling the pea through seven mattresses, each book irritated C. S. Forester. This pea metaphor shows the heightened sensitivity of the literary figure. Every project becomes an obsession that cannot be ignored.
“I must be like the princess who felt the pea through seven mattresses; each book is a pea.”
Reflections on Public Memory
The British Museum would keep his name. But C. S. Forester knew the truth. Public memory fades. Nobody would ask for his books. This honest view of legacy and remembrance shows the writer’s realistic view of his own literary recognition.
“When I die there may be a paragraph or two in the newspapers. My name will linger in the British Museum Reading Room catalogue for a space at the head of a long list of books for which no one will ever ask.”
Hollywood Versus Reality
Hollywood offered trivial crises. It offered counterfeit emotions. When C. S. Forester returned to England, he felt the difference. Real emotion wore him out. This emotional contrast shaped his view of authentic fiction writing versus commercial entertainment.
“Everything was in stark and dreadful contrast with the trivial crises and counterfeit emotions of Hollywood, and I returned to England deeply moved and emotionally worn out.”
Inspiration Like Natural Forces
When inspiration struck, it came like a geyser. Like an oil gusher. The words poured out. Six thousand words a day flowed from C. S. Forester’s fountain pen. This describes the peak moments of creativity bubbling up in the writing process.
“The material came bubbling up inside like a geyser or an oil gusher. It streamed up of its own accord, down my arm and out of my fountain pen in a torrent of six thousand words a day.”
Linear Story Structure
C. S. Forester rejected modern techniques. No starting in the middle. No writing in patches. The narrative development must flow from beginning to end writing. This is his fundamental approach to story structure and the literary craft.
“There is no other way of writing a novel than to begin at the beginning at to continue to the end.”
The Price of the Writing Life
Novel writing destroys homes. The isolation of writers takes its toll. The work ethic required for writing for a living leaves no room for normal family life. C. S. Forester stated this brutal truth without softening it.
“Novel writing wrecks homes.”
