Theodore Sturgeon Quotes

There are people who have tremendously important things to say, but they say it so poorly that nobody would ever want to read it.

The alternative is to locate large deposits of specifically what we need, and extract it in bulk from the earth."
"That's mining," said the Drip. "There is a twenty-third century legend that youth was conscripted to work in mines. Anyhow, all young people were known as miners at one period.

We are now in a position to determine just what sort of science fiction story this really is.

When you combine something to say with the skill to say it properly, then you've got a good writer.

There are a lot of people who write very intensely about things they do not and cannot do.

His body was tubby but his arms apparently couldn't understand that, for they were long and scrawny. From his brow to an inch below his eyes, his nose turned up; from there on, down. His short upper lip slanted sharply toward his tonsils, which had the effect of making his chinlessness positively jut.
( ... )
The bartender was fascinated by the way the teardrops proceeded down Biddiver's amazing nose. One drop would dash almost halfway, and then hesitate, daunted by the hump. Then it would be joined by another teardrop, and the two, merging, would surmount the obstacle and slip down to hang glittering over the disappearing lip until a sob came along to shake them off.

( ... ) my preoccupation in a larger sense is the optimum man. The question of establishing an internal ecology, where the optimum liver works with the optimum spleen and the optimum eyeball and so forth. Now, when you get to the mind - not the brain, but the optimum mind - then you have the whole inner space idea; my conviction is that there's more room there than there is in outer space, in each individual human being. Love of course has a great deal to do with that, as a necessary coloration and adjunct to everything that we do - to love oneself, to love the parts of oneself, to love the interaction of the parts of oneself, and then the interaction of that whole organism with those of another person. Which is as good a definition of love as you can get, I think.

You have to study your field and you have to find out how other people do it, and you have to keep working and learning and practicing and ultimately, you would be able to do it.

I learned how to live on five and sometimes ten dollars a week.

Why do you talk all the time?" I asked. It was a rhetorical question, but she cocked her head on one side and considered it carefully.
"I think it's 'cause I don't know any big words, like you and Mummy," she said, just in time to pull me out of my magazine again, "so I have to use lots and lots of little ones.

I've always written very tightly, and there's a good reason for that. There's no point in using words that you're not going to apply.

You have to be away a long time, a long way, to miss someone like that, and me, I'd been farther away than anyone ought to be for too long plus six weeks. I kissed her and squeezed her until she yelled for mercy, and when I got to where I realized she was yelling we were clear back to the terrace, the whole length of the apartment away from the door. I guess I was sort of enthusiastic, but as I said ... oh, who can say a thing like that and make any sense?

I sent The World Well Lost to one editor who rejected it on sight, and then wrote a letter to every other editor in the field warning them against the story, and urging them to reject it on sight without reading it.

Fear is a survival instinct; fear in its way is a comfort for it means that somewhere hope is alive.

I teach writing courses and first of all, I teach my students what prosody is.

That's fairly common. We don't believe anything we don't want to believe.

Sometimes you characters give me a pain in the back of my lap," said Manuel abruptly. "I hang around with you and listen to simple-minded gobbledegook in yard-long language, if it's you talking, Dran, and pink-and-purple sissification from the brat here. Why I do it I'll never know. And it goes that way up to the last gasp. So you're going to leave. Dran has to make a speech, real logical. Vaughn has to blow out a sigh and get misty-eyed." He spat.
"How would you handle it?" Dran asked, amused. Vaughn stared at Manuel whitely.
"Me? You really want to know?"
"This I want to hear," said Vaughn between her teeth.
"I'd wait a while - a long while - until neither of you was talking. Then I'd say, 'I joined the Marines yesterday.' And you'd both look at me a little sad. There's supposed to be something wrong with coming right out and saying something. Let's see. Suppose I do it the way Vaughn would want me to." He tugged at an imaginary braid and thrust out his lower lip in a lampoon of Vaughn's full mouth. He sighed gustily. "I have felt …" He paused to flutter his eyelashes. "I have felt the call to arms," he said in a histrionic whisper. He gazed off into the middle distance. "I have heard the sound of trumpets. The drums stir in my blood." He pounded his temples with his fists. "I can't stand it - I can't! Glory beckons. I will away to foreign strands."
Vaughn turned on her heel, though she made no effort to walk away. Dran roared with laughter.
"A

90 percent of everything is crap.

Why on earth do you carry a mirror around with you?"
"It's purely a defensive device. We seldom quarrel, and this is one of the reasons. Can you imagine yourself getting all worked up and contorted and illogical and then coming face to face with yourself, looking at yourself exactly as you look to everyone else?

He had an animal's maturity, in which the play of kittens and puppies no longer has a function. His spectrum lay between terror and contentment.

As far as I'm concerned, I didn't dream - ever.

You don't sit up in a cave and write the Great American Novel and know it is utterly superb, and then throw it page by page into the fire. You just don't do that. You send it out. You have to send it out.

Once I had all the facts in, I found I didn't have the immoral courage to pull the caper. So I wrote it as a story. As a teenager, I didn't have any skills for writing as such, so it came out in 1500 words.

Basically, fiction is people. You can't write fiction about ideas.

Even if this is the end of humankind, we dare not take away the chances some other life-form might have to succeed where we failed. If we retaliate, there will not be a dog, a deer, an ape, a bird or fish or lizard to carry the evolutionary torch. In the name of justice, if we must condemn and destroy ourselves, let us not condemn all life along with us! We are heavy enough with sins. If we must destroy, let us stop with destroying ourselves!

Sometimes I sets and thinks, and sometimes I just sets.

He slept like an animal, well and lightly, faced in the opposite direction from that of a man; for a man going to sleep is about to escape into it while animals are prepared to escape out of it.

My wife is beginning to instruct me on means to retrieve dreams, and bit by bit, it does seem to be working.

I found out the differences between "the truth" and "all the truth." You can know some pretty terrible things about a person, and you can know they're true. But sometimes it makes a huge difference if you know what else is true too. I read something in a book once about an old lady who was walking along the street minding her own business when a young guy came charging along, knocked her down, rolled her in a mud puddle, slapped her head and smeared handsful of wet mud all over her hair. Now what should you do with a guy like that?
But then if you find out that someone had got careless with a drum of gasoline and it ignited and the old lady was splashed with it, and the guy had presence of mind enough to do what he did as fast as he did, and severely burned his hands in the doing of it, then what should you do with him?
Yet everything reported about him is true. The only difference is the amount of truth you tell.

I thumped her on the back, picked her up and dropped her on top of her dungarees. "Put them pants on," I said, "and be a man." She did, but she cried quietly until I shook her and said gently, "Stop it now. I didn't carry on like that when I was a little girl." I got into my clothes and dumped her into the bow of the canoe and shoved off.
All the way back to the cabin I forced her to play one of our pet games. I would say something - anything - and she would try to say something that rhymed with it. Then it would be her turn. She had an extraordinary rhythmic sense, and an excellent ear.
I started off with "We'll go home and eat our dinners."
"An' Lord have mercy on us sinners," she cried. Then, "Let's see you find a rhyme for 'month'!"
"I bet I'll do it … jutht thith onthe," I replied. "I guess I did it then, by cracky."
"Course you did, but then you're wacky. Top that, mister funny-lookin'!"
I pretended I couldn't, mainly because I couldn't, and she soundly kicked my shin as a penance. By the time we reached the cabin she was her usual self, and I found myself envying the resilience of youth. And she earned my undying respect by saying nothing to Anjy about the afternoon's events, even when Anjy looked us over and said, "Just look at you two filthy kids! What have you been doing - swimming in the bayou?"
"Daddy splashed me," said Patty promptly.
"And you had to splash him back. Why did he splash you?"
" 'Cause I spit mud through

[Mom] said she worked hard and saw to it he ate and got good clothes and had a place for himself. She said it funny and she said it so often you didn't hear it any more, but she did say it.
Pop also said he worked hard all day and when he came home he had a right. He said it to Mom and he said it to Jorry. Then Jorry would say whatever it was he always said, and nobody heard him either.
Jorry began to walk faster.
Because if there was a way to say something to Mom, and if she could say it to him and to Pop, so that they heard each other, they wouldn't need to stay mad or feel useless, not any of them. Like if somehow you can make people just listen to each other, not just listen to you. And you listen too. Everybody.

Ask the next question.

I never read a book in my life," she said again. She looked at the volume where it lay by the boulder, at Scott, at the book again. She seemed to be having a great deal of trouble getting used to the idea of a man reading a book. "What do you read books for?"
Now he laughed, and she flared up at him, "You laughing at me?"
"Lord, no, ma'am. It's just that nobody ever asked me that before."
He looked at the still water for a moment, thinking. "Tell you what, suppose you had a friend, he knew a whole lot more than you do. He could tell you things about what people are like all over the world, the way they live, everything. And what folks were like a hundred years ago or even a thousand. He could tell you things that make your hair curl, lose you sleep, or things that make you laugh." He looked up at her swiftly, and away. "Or cry."
He kicked a pebble into the water and watched the sunlight break and break, and heal. "More than that. Suppose you had a friend there waiting for you anytime you wanted him, anyplace. He'd give you all he's got or any part of it, whenever you wanted it. And even more, you could shut him up if you didn't feel like listening. Or if he said something you like, you could get him to say it over a hundred times, and he'd never mind."
He pointed at the book. "And all that you can put in your pocket.

We walked out of there, and for the first time I felt the mood of a night without feeling that an author was ramming it down my throat for story purposes. I looked at the clean-swept, star-reaching cubism of the Radio City area and its living snakes of neon, and I suddenly thought of an Evelyn Smith story the general idea of which was "After they found out the atom bomb was magic, the rest of the magicians who enchanted refrigerators and washing machines and the telephone system came out into the open." I felt a breath of wind and wondered what it was that had breathed. I heard the snoring of the city and for an awesome second felt it would roll over, open its eyes, and ... speak.

Let me tell you something: you can not write good fiction about ideas. You can only write good fiction about people.

Evelyn said, "What's it called when a person needs a ... person ... when you want to be touched and the ... two are like one thing and there isn't anything else at all anywhere?"
Alicia, who had read books, thought about it. "Love," she said at length. She swallowed. "It's a madness. It's bad.

I went back every evening, after work, for nearly a year. I learned the meaning of the cud of a leaf and the glisten of wet pebbles, and the special significance of curves and angles. A great deal of the writing was unwritten. Plot three dots on a graph and join them; you now have a curve with certain characteristics. Extend that curve while maintaining the characteristics, and it has meaning, up where no dots were plotted.

In just this way I learned to extend the curve of a grass-blade and of a protruding root, of the bent edges of wetness on a drying headstone. I quit smoking so I could sharpen my sense of smell, because the scent of earth after a rain has a clarifying effect on graveyard reading, as if the page were made whiter and the ink darker. I began to listen to the wind, and to the voices of birds and small animals, insects and people; because to the educated ear, every sound is filtered through the story written on graves, and becomes a part of it.

("The Graveyard Reader")

I quit my job, and went ashore to become a writer.

Just think about it," he said softly. "You can do practically anything. You can have practically everything. And none of it will keep you from being alone."
"Shut up shut up ... Everybody's alone."
He nodded. "But some people learn how to live with it.

Original sin," he said thoughtfully. "That's about Adam an' - no, wait. I remember. Everybody's supposed to be sinful to start with because it takes a sin to get'm started.

There's this about a farm: when the market's good there's money, and when it's bad there's food.

You write a story about loneliness, and you grab them all because everybody's an expert on that one.

There was such a rush about me: wing, and tangled spray, and colors upon colors and shades of colors that were not colors at all but shifts of white and silver. If light like that were sound, it would sound like the sea on sand, and if my ears were eyes, they would see such a light.
I crouched there, gasping in the swirl of it, and a flood struck me, shallow and swift, turning up and outward like flower petals where it touched my knees, then soaking me to the waist in its bubble and crash. I pressed my knuckles to my eyes so they would open again. The sea on my lips with the taste of tears and the whole white night shouted and wept aloud.

Waiting for the end of innocence. And an idiot is waiting for the end of idiocy too, but he's ugly doing it. So each ends himself in the meeting, in exchange for a merging.

I feel angry that I can't be hypnotized. I'm not putting it down, and I'm not saying that it doesn't exist. I have talked to a great many people who are very good at it, but so far nobody has ever been able to hypnotize me.

90% of everything is crap.

She peered out after a moment; he was staring fixedly across the cut, with his gun resting on his left forearm. He raised it abruptly and fired twice more, waited, shrugged, and then trudged off. Quietly sat watching him in utter amazement and disgust. Far off on the hillside she could discern the jerky motions of a rock-squirrel kicking and kicking its life away. The man had hit it with his first bullet, and had fired again as it writhed there. It was wanton; it was useless. Quietly felt no particular pity for the animal; she was not a sentimentalist, and had a scale of values for the lower orders. What offended her was the waste of a life, of powder, even of skill - the skill of the man himself and that of the precision workers who had made his weapon. He had not wanted the creature for fur or flesh, but had as his only apparent desire an affirmation of the evident fact that he was bigger and stronger and more intelligent than a chipmunk. Enter civilization she would, but not in the company of this pervert.

I repeat Sturgeon's Revelation, which was wrung out of me after twenty years of wearying defense of science fiction against attacks of people who used the worst examples of the field for ammunition, and whose conclusion was that ninety percent of SF is crud.

A science fiction story is a story built around human beings, with a human problem and a human solution, which would not have happened at all without its scientific content.

I wrote the very first stories in science fiction which dealt with homosexuality, The World Well Lost and Affair With a Green Monkey.

This is the answer!
The answer is not in getting and keeping, but in getting and giving.
The answer is not in saving and preserving, but in growing and changing.
The answer is not in making things stop, but in making things go.
The answer is not in covering and hiding, but in touching and sharing.
The answer is not in thinking, but in feeling.
The answer is not in death, but love.
Not death, but life.
Not death!

Writing is a communication.

Create a world in which these things do or do not exist, or in which they are extended in some way. Test reality against this fiction. The reader will recognize the world that you're talking about, even though it may be another one altogether

If All Men Were Brothers, Would You Let One Marry Your Sister?

Living things aren't finished, you see. Everything they have ever been in contact with, each thought they have had, each person they have known - these things are still at work in them; nothing's finished.
("The Graveyard Reader")

The novels were all right for a while until she found out that most of them were like the movies - all about the pretty ones who really own the world.

Nothing is always absolutely so

A billion and a half human souls, who had been given the techniques of music and the graphic arts, and the theory of technology, now had the others: philosophy and logic and love; sympathy, empathy, forbearance, unity, in the idea of their species rather than in their obedience; membership in harmony with all life everywhere.
A people with such feelings and their derived skills cannot be slaves. As the light burst upon them, there was only one concentration possible to each of them - to be free, and the accomplished feeling of being free. As each found it, he was an expert in freedom, and expert succeeded expert, transcended expert, until (in a moment) a billion and a half human souls had no greater skill than the talent of freedom.

God," he cries, dying on Mars, "God, we made it!

No man can rob successfully over a period of years without pleasing the people he robs.

It hit us all of a sudden, one night after one of these mouth-marathons, that anyone who has a complaint ought to have to qualify and be certified first. I mean, here's somebody who thinks it's just awful about the dirty water and the foul air. What is he doing about the solid waste he creates in his own house? What kind of poison-factory is he driving, and does he keep it running in such a way as to minimize the junk it puts into the air? Does he support government people he knows are corrupt, or by apathy just let them go on corrupting? The more we heard this kind of crap from these hobby gripers, the more we felt that a man should qualify to complain, just as he has to qualify to drive a bus or cut an appendix or run a ferryboat. Or vote. And if we were going to be honest about it, we had to look at ourselves. Point a finger at anybody and you'll find you have three fingers pointing at you.

Inner space is so much more interesting, because outer space is so empty.

Here's the point to be made - there are no synonyms. There are no two words that mean exactly the same thing.

Miss Kuhli (Merrihew had heard it "Cooley" the day before, and had built quite a different picture) was Eurasian. Not since the perfection of ferro-concrete and its self-stressed freedom has architecture been able to match the construction of such eyelids and supraorbital arches as those with which Miss Kuhli had been born. Her hands seemed to be the cooperative work of a florist and a choreographer. Her body had not been designed, but inspired, and her hair was such that it could not be believed at a single glance.

The movers and shakers have always been obsessive nuts.

Dear Mr. Garry,
Let us face it. Small considerations, magnified by the conventions, are not important to people like you and me. It is our duty to found a super-race together. My background of deep study into esoteric matters has convinced me that the only thing that can save the race is to people the world with the superior strain evident in both of us. I enclose a nude photograph of myself and will appreciate it if you will do likewise. I am thirty three years old and have kept myself sacrosanct awaiting this great moment.

An old-shoe lover loves loving old shoes.

An ethic isn't a fact you can look up. It's a way of thinking.

I find to my mixed astonishment that I do dream, but I didn't know it.

He picked up three long fresh stalks of timothy and braided them together. He upended the scythe and thrust the handle deep enough into the soft earth so it would stand upright. He tied the braided grass to one of the grips and slipped the whetstone into the loops so it would stay. Then he walked off into the woods.

He let a vision of April grow and fill the world. ( ... ) He saw April at the spaceport, holding him in the dark shadows of the blockhouse while the sky flamed above them. We'll go out like that soon, soon, Tod. Squeeze me, squeeze me ... Ah, he'd said, who needs a ship?
Another April, part of her in a dim light as she sat writing; her hair, a crescent of light loving her cheek, a band of it on her brow; then she had seen him and turned, rising, smothered his first word with her mouth. Another April wanting to smile, waiting; and April asleep, and once April sobbing because she could not find a special word to tell him what she felt for him ...

You said to imagine a great big sphere, and inside is all of time and space. All of it. And outside are these intelligent entities, and all they are is curious; all they want to do is experience."
"Go on," Alice said. Her eyes are so bright.…
"One might say: 'I want the experience of being a seventeen-year-old girl in the fourteenth century who was burned at the stake.' Or 'I'd like the experience of being a four-month aborted fetus in 1994.' And they just dive in and do it." I looked at Alice. She was waiting for something. I thought about what I just said, and then I remembered: "They have to create what happens. Write a script." She still waited, so I said, "Not only the experience itself; the house, the city, the country, the whole world where it happens. All of it."
"Which makes that entity responsible for all of it," she reminded me.
"So that's who the 'little man watching' really is - that, that thing - "
"Not a thing," she said, interrupting for the very first time. "It's you. You're living a script that you wrote. Which is why free will and predestination are the same thing.

Ask the next question, and the one that follows that, and the one that follows that. It's the symbol of everything humanity has ever created, and is the reason it has been created.

It was spring, the part of spring where the bursting is done, the held-in pressures of desiccated sap-veins and gum-sealed buds are gone, and all the world's in a rush to be beautiful.

During their subsequent meetings, which were soon and often, Lance confessed and anatomized his passion for her. He even gave her its (the passion's, of course) biography. It had been born of a book jacket, the one responsible for the only really nice thing ever said about Eloise Michaud in a metropolitan review - The photo-portrait on the book jacket will move as many books as, say, good writing might. To be honest, however, the picture is worth quite the price of the volume. Miss Michaud is the most scrumptious scrivener ever to set pen to the paper of a book-club contract.

Every agent has a Sig Weiss - as a rosy dream. You sit there day after day paddling through oceans of slush, hoping one day to run across a manuscript that means something - sincerity, integrity, high word rates - things like that. You try to understand what editors want in spite of what they say they want, and then you try to tell it to writers who never listen unless they're talking. You lend them money and psychoanalyze them and agree with them when they lie to themselves. When they write stories that don't make it, it's your fault. When they write stories that do make it, they did it by themselves. And when they hit the big time, they get themselves another agent. In the meantime, nobody likes you.