Best 14 quotes of L. L. Barkat on MyQuotes

A writer is always writing for someone.

Have tea, might write,” Laura returned.

Her tea basket was still lost, but that didn’t seem to matter now. People used to eat loose tea on long journeys. They’d pack it into hard little cakes they’d pull out later, to gnaw on while they warmed their hands by a fire. The tea provided physical sustenance, but it was also considered good for the soul.

If Laura was so prolific with poems, and in truth she was, then what was the problem with Megan’s request? Couldn’t Laura, with a little doing, keep stringing together line after line of words and construct, in time, a novel? It seemed logical, but there was the matter of finding an idea and sustaining it. Only fire could do that. The fire of rebellion. Mario Vargas Llosa had not used the term “fire” exactly, but rather had discussed the presence of “seditious roots” that could “dynamite the world” the writer inhabited. He claimed that writing stories was an exercise in freedom and quarreling—out-and-out rebellion, whether or not the writer was conscious of it. And this rebellion, Vargas Llosa reminded his readers, was why the Spanish Inquisition had strictly censored works of fiction, prohibiting them for three hundred years in the American colonies.

If she was going to write a novel, she felt defeated before she began, because someone might be coming along to pick it apart, looking for symbols like The Conch or The Whale, which seemed to have mythic proportions.

Maybe Laura’s real problem came in admitting this: there was nothing new under the sun. To write a story would be, somehow deep down, to embrace her limits, to admit that, indeed, she would someday die—if not of a worm or a ceiling, then of something else. The very nature of a story admitted this reality. To be a writer was to say, yes, I am just another Murasaki, and it is quite possible that no one will remember my name.

Maybe you didn’t need to know anything special to write a work of fiction. Maybe you didn’t need to delve into some kind of life question you knew you’d lived. Perhaps your subconscious would do the job for you, if only you dared to dream.

One Bagatelle, and I’ll raise you a novel,” Megan had tweeted back. “Writing for tea? Now that would have been a solution for the British empire,” Laura returned. “Writing for me,” Megan had typed. “I’ll write you a tea fortune.” “No deal. I want a novel. September sounds good.

She meant you have to live a story for a time.' 'And?' 'And then you can write it, in time. What have you lived?' 'Kind of a personal question for Twitterland.' 'Kind of the perfect question to answer in fiction.

Tea was more than boiling water. There were decisions to be made and a frame of mind to develop, no matter how imperceptible.

We will need to find people who will provide a safe writing space for us, where criticism comes late and love and delight come early. —from Rumors of Water: Thoughts on Creativity & Writing

Writing starts with living.

Writing starts with living. —Rumors of Water: Thoughts on Creativity & Writing

You could use a moth like that as a symbol in a novel, but it was trite, wasn’t it? The old moth-to-the-flame image had been used and used again. It was the stuff of amateur poetry. And she, having so little experience crafting a story, would be the most in danger of falling into trite approaches. If she wrote a novel, it probably would be about her father. And the male Luna moth would haunt its pages. Everyone would recognize the work as that of a first novelist. “She wrote about herself through the lens of her father.” The really good novelists, Laura thought, put their fathers, and maybe their mothers too, deeper into the stories. Which, she suddenly thought, might redeem Melville just the littlest bit.