There is nothing harder to estimate than a writer's time, nothing harder to keep track of. There are moments — moments of sustained creation — when his time is fairly valuable; and there are hours and hours when a writer's time isn't worth the paper he is not writing anything on.

I cannot find any patience for those people who believe that you start writing when you sit down at your desk and pick up your pen and finish writing when you put down your pen again; a writer is always writing, seeing everything through a thin mist of words, fitting swift little descriptions to everything he sees, always noticing. Just as I believe that a painter cannot sit down to his morning coffee without noticing what color it is, so a writer cannot see an odd little gesture without putting a verbal description to it, and ought never to let a moment go by undescribed.

For certainly it is excellent discipline for an author to feel that he must say all he has to say in the fewest possible words, or his reader is sure to skip them; and in the plainest possible words, or his reader will certainly misunderstand them.

"The "if I had time" lie is a convenient way to ignore the fact that novels require being written and that writing happens a sentence at a time. Sentences can happen in a moment. Enough stolen moments, enough stolen sentences, and a novel is born - without the luxury of time."

One of the vital things for a writer who’s writing a book, which is a lengthy project and is going to take about a year, is how to keep the momentum going. It is the same with a young person writing an essay. They have got to write four or five or six pages. But when you are writing it for a year, you go away and you have to come back. I never come back to a blank page; I always finish about halfway through. To be confronted with a blank page is not very nice. But Hemingway, a great American writer, taught me the finest trick when you are doing a long book, which is, he simply said in his own words, “When you are going good, stop writing.” And that means that if everything’s going well and you know exactly where the end of the chapter’s going to go and you know just what the people are going to do, you don’t go on writing and writing until you come to the end of it, because when you do, then you say, well, where am I going to go next? And you get up and you walk away and you don’t want to come back because you don’t know where you want to go. But if you stop when you are going good, as Hemingway said…then you know what you are going to say next. You make yourself stop, put your pencil down and everything, and you walk away. And you can’t wait to get back because you know what you want to say next and that’s lovely and you have to try and do that. Every time, every day all the way through the year. If you stop when you are stuck, then you are in trouble!

The only writers who have any peace are the ones who don't write. And there are some like that. They wallow in a sea of possibilities. To express a thought, you first have to limit it, and that means kill it. Every word I speak robs me of a thousand others, and every line I write means giving up another.

The most interesting thing about writing is the way that it obliterates time. Three hours seem like three minutes. Then there is the business of surprise. I never know what is coming next. The phrase that sounds in the head changes when it appears on the page. Then I start probing it with a pen, finding new meanings. Sometimes I burst out laughing at what is happening as I twist and turn sentences. Strange business, all in all. One never gets to the end of it. That’s why I go on, I suppose. To see what the next sentences I write will be.

"It's very important to write things down instantly, or you can lose the way you were thinking out a line. I have a rule that if I wake up at 3 in the morning and think of something, I write it down. I can't wait until morning — it'll be gone."

[<i>Maria Shriver Interviews the Famously Private Poet Mary Oliver</i> (<i>O Magazine</i>, March 2011)]

The trick to finding writing time is to make writing time in the life you've already got.

"I am always chilled and astonished by the would-be writers who ask me for advice and admit, quite blithely, that they "don't have time to read." This is like a guy starting up Mount Everest saying that he didn't have time to buy any rope or pitons."

The secret of it all, is to write in the gush, the throb, the flood, of the moment – to put things down without deliberation – without worrying about their style – without waiting for a fit time or place. I always worked that way. I took the first scrap of paper, the first doorstep, the first desk, and wrote – wrote, wrote…By writing at the instant the very heartbeat of life is caught.

I don't think you have time to waste not writing because you are afraid you won't be good at it.

I'm willing to show good taste, if I can, in somebody else's living room, but our reading life is too short for a writer to be in any way polite. Since his words enter into another's brain in silence and intimacy, he should be as honest and explicit as we are with ourselves.

I began to realize how simple life could be if one had a regular routine to follow with fixed hours and a fixed salary and very little original thinking to do. The life of a writer is absolute hell compared with the life of a businessman. The writer has to force himself to work. He has to make his own hours and if he doesn’t go to his desk at all there is nobody to scold him. If he is a writer of fiction he lives in a world of fear. Each new day demands new ideas and he can never be sure whether he is going to come up with them or not. Two hours of writing fiction leaves this particular writer absolutely drained. For those two hours he has been miles away, he has been somewhere else, in a different place with totally different people, and the effort of swimming back into normal surroundings is very great. It is almost a shock. The writer walks out of his workroom in a daze. He wants a drink. He needs it. It happens to be a fact that nearly every writer of fiction in the world drinks more whisky than is good for him. He does it to give himself faith, hope and courage. A person is a fool to become a writer. His only compensation is absolute freedom. He has no master except his own soul, and that, I am sure, is why he does it.