[ed. Excerpt from DFW's posthumously published collection Both Flesh and Not on a writer's motivation.]

Now, attempted seduction is hard work, and its fun is offset by a terrible fear of rejection. Whatever "ego" means, your ego has now gotten into the game. Or maybe "vanity" is a better word. Because you notice that a good deal of your writing has now become basically showing off, trying to get people to think you're good. This is understandable. You have a great deal of yourself on the line, now, writing – your vanity is at stake. You discover a tricky thing about fiction writing: a certain amount of vanity is necessary to be able to do it at all, but any vanity above that certain amount is lethal. At this point 90+% of the stuff you're writing is motivated and informed by an overwhelming need to be liked. This results in shitty fiction. And the shitty work must get fed to the wastebasket, less because of any sort of artistic integrity than simply because shitty work will make you disliked. At this point in the evolution of writerly fun, the very thing that's always motivated you to write is now also what's motivating you to feed your writing to the wastebasket. This is a paradox and a kind of double bind, and it can keep you stuck inside yourself for months or even years, during which you wail and gnash and rue your bad luck and wonder bitterly where all the fun of the thing could have gone.
The smart thing to say, I think, is that the way out of this bind is to work your way somehow back to your original motivation: fun. And, if you can find your way back to the fun, you will find that the hideously unfortunate double bind of the late vain period turns out really to have been good luck for you. Because the fun you work back to has been transfigured by the unpleasantness of vanity and fear, an unpleasantness you're now so anxious to avoid that the fun you rediscover is a way fuller and more large-hearted kind of fun. It has something to do with Work as Play. Or with the discovery that disciplined fun is more fun than impulsive or hedonistic fun. Or with figuring out that not all paradoxes have to be paralysing. Under fun's new administration, writing fiction becomes a way to go deep inside yourself and illuminate precisely the stuff you don't want to see or let anyone else see, and this stuff usually turns out (paradoxically) to be precisely the stuff all writers and readers share and respond to, feel. Fiction becomes a weird way to countenance yourself and to tell the truth instead of being a way to escape yourself or present yourself in a way you figure you will be maximally likeable. This process is complicated and confusing and scary, and also hard work, but it turns out to be the best fun there is.
by David Foster Wallace, Brain Pickings | Read more:
Photograph: © Gary Hannabarger/Corbis[ed. Repost.]