Chinua Achebe Quotes about Writing

If you don't like someone's story, write your own.

Every generation must find its mission and fulfill it, as Fanon said - or betray it. So it is not something that you can write up on the wall, saying this is what has to be done. Every generation has to discover what it needs to do.

Writing is like wrestling; you are wrestling with ideas and with the story. There is a lot of energy required. At the same time, it is exciting. So it is both difficult and easy. What you must accept is that your life is not going to be the same while you are writing. I have said in the kind of exaggerated manner of writers and prophets that writing, for me, is like receiving a term of imprisonment-you know that's what you're in for, for whatever time it takes.

People create stories create people; or rather stories create people create stories.

If you don't like someone's story, write your own. If you don't like what somebody says, say what it is you don't like.

For people who are coming out of an oral tradition, it is very exciting to get into reading and writing and it is quite interesting how frequently people want to write their own story. Sometimes it is straight history - this is how we came about, how our town was created, a lot of that kind of effort, as soon as literacy came. The first thing you wanted to do was to put something down about who you are or how you are related to you neighbors. Then the next stage would be the stories, the cultural part of the story: this is the kind of world our ancestors made or aspired to.

If I write novels in a country in which most citizens are illiterate, who then is my community?

When I'm writing, I really want to satisfy myself. I've got a story that I am working on and struggling with, and I want to tell it the most effective way I can. That's really what I struggle with. And the thought of who may be reading it may be there somewhere in the back of my mind - I'll never say it's not there because I don't know - but it's not really what I'm thinking about.

I did not think of writing as a career and I don't think that I did this ever really, but I think of writing as something that I could do, I should do alongside whatever else I was doing. It simply grew on me.

Most writers who are beginners, if they are honest with themselves, will admit that they are praying for a readership as they begin to write. But it should be the quality of the craft, not the audience, that should be the greatest motivating factor.

I think an artist, in my definition of that word, would not be someone who takes sides with the emperor against his powerless subjects. That's different from prescribing a way in which a writer should write.

I think as you grow up and you see things which are around you and you ask questions and you hear the answers, your situation becomes more and more of a puzzle. Now, why is it like this, why are things like this and since writing is one way in which one can ask this questions and try to find these answers, it seems to me a very natural thing to do, especially as it meant stories which I always found moving, almost unbearably necessary.

There's no lack of writers writing novels in America, about America. Therefore, it seems to me it would be wasteful for me to add to that huge number of people writing here when there are so few people writing about somewhere else.

The writer is often faced with two choices--turn away from the reality of life's intimidating complexity or conquer its mystery by battling with it. The writer who chooses the former soon runs out of energy and produces elegantly tired fiction.

When Rimbaud became a slave trader, he stopped writing poetry.

What really worries me is that those who are in positions of power are not really affected by what we are writing. In the moral dialogue you want to start, you really want to involve the leaders. People ask me: "Why were you so bold as to publish A Man of the People? How did you think the Government was going to take it? You didn't know there was going to be a coup?" I said rather flippantly that nobody was going to read it anyway, so I wasn't likely to be fired from my official position. It's a distressing thought that we cannot engage our leaders in the kind of moral debate we need.

It's so easy to get into the same routine. A novel every two years; perhaps, improving technique. But I'm not interested in that. I'm interested in doing something fundamentally important--and therefore, it needs time. And what I've been doing, really, is avoiding this pressure to get into the habit of one novel a year. This is what is expected of novelists. And I have never been really too much concerned with doing what is expected of novelists, or writers, or artists. I want to do what I believe is important.

I'm very primitive; I write with a pen.

I wouldn't have wanted anyone to teach me how to write. That's my own taste. I prefer to stumble on it.

If someone said, I want to translate your novel into Igbo, I would say, Go ahead. But when I write in the Igbo language, I write my own dialect. I write some poetry in that dialect.

I think dialects should be left alone. People should write in whatever dialect they feel they want to write. In the fullness of time, these dialects will sort themselves out.

Unless I'm writing in the Igbo language, I use a language developed elsewhere, which is English. That affects the way I write. It even affects to some extent the stories I write.

Many writers can't make a living. So to be able to teach how to write is valuable to them. But I don't really know about its value to the student. I don't mean it's useless. But I wouldn't have wanted anyone to teach me how to write.

To the question of writing at all we have sometimes been counselled to forget it, or rather the writing of books. What is required, we are told, is plays and films. Books are out of date! The book is dead, long live television! One question which is not even raised let alone considered is: Who will write the drama and film scripts when the generation that can read and write has been used up?

Writing has always been a serious business for me. I felt it was a moral obligation. A major concern of the time was the absence of the African voice. Being part of that dialogue meant not only sitting at the table but effectively telling the African story from an African perspective - in full earshot of the world.