“Less apparent is that bland writing — timid, antiseptic, vanilla writing – is nearly as unhealthy as the brutal and dark.”

— Tom Robbins

The Syntax of Sorcery (2012)
Context: Certain individual words do possess more pitch, more radiance, more shazam! than others, but it's the way words are juxtaposed with other words in a phrase or sentence that can create magic. Perhaps literally. The word "grammar," like its sister word "glamour," is actually derived from an old Scottish word that meant "sorcery." When we were made to diagram sentences in high school, we were unwittingly being instructed in syntax sorcery, in wizardry. We were all enrolled at Hogwarts. Who knew?
When a culture is being dumbed down as effectively as ours is, its narrative arts (literature, film, theatre) seem to vacillate between the brutal and the bland, sometimes in the same work. The pervasive brutality in current fiction – the death, disease, dysfunction, depression, dismemberment, drug addiction, dementia, and dreary little dramas of domestic discord – is an obvious example of how language in exploitative, cynical or simply neurotic hands can add to the weariness, the darkness in the world. Less apparent is that bland writing — timid, antiseptic, vanilla writing – is nearly as unhealthy as the brutal and dark. Instead of sipping, say, elixir, nectar, tequila, or champagne, the reader is invited to slurp lumpy milk or choke on the author's dust bunnies.

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Tom Robbins 250

American writer 1932

Ariana Reines (1982) American writer

On writing as a woman in “INTERVIEW WITH ARIANA REINES” http://www.thewhitereview.org/feature/interview-ariana-reines/ in The White Review (July 2019)

“I nearly always write just as I nearly always breathe.”

John Steinbeck book The Grapes of Wrath

Source: The Grapes of Wrath

“All I'm writing is just what I feel, that's all. I just keep it almost naked. And probably the words are so bland.”

Jimi Hendrix (1942–1970) American musician, singer and songwriter

“Writing turned a spotlight on the high, dim Sierras of speech; writing was the visualization of acoustic space. It lit up the dark.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1960s, Counterblast (1969), p. 14

“I want to write — I want to write — I want to write and never never never will. I know it and I am so unhappy and it seems as though nothing else mattered. Whatever I'm doing, it's always there, an ultimate longing there saying, "Write this — write that — write —" and I can't. Lack ability, time, strength, and duration of vision. I wish someone would tell me brutally, "You can never write anything.”

Anne Morrow Lindbergh (1906–2001) American aviator and author

Take up home gardening!"
Bring Me a Unicorn (1971)

“To write poetry and to commit suicide, apparently so contradictory, had really been the same, attempts at escape.”

John Fowles book The Magus

Source: The Magus

“I was already at the twentieth section of the book and not very happy with it, when I realised how it could be written. I saw that I would only be able to write it if I did so as if I were actually telling the story. That could not be done by putting so-called oral language into writing, because that's impossible, but by introducing into my writing a mechanism of apparent spontaneity, apparent digression and apparent disorganisation in the discourse. I say 'apparent' since I am only too aware of how much work it took to ensure that it turned out like that.”

José Saramago (1922–2010) Portuguese writer and recipient of the 1998 Nobel Prize in Literature

...eu já estava na vigésima parte do livro, triste, quando senti que o livro podia ser escrito. Percebi que só seria capaz de escrevê-lo se o fizesse como se contasse. Não passando para a escrita o chamado discurso oral, porque isso é impossível, mas introduzindo na escrita um me-canismo de aparente prolixidade, aparente desor-ganização do discurso. Digo aparente porque sei o trabalho que me deu fazer de conta que era tudo assim.
Interview in Idéias, no. 107 (15 October 1988), trans. Margaret Jull Costa.