Best 30386 quotes in «writing quotes» category

We plant a tree that won't be big enough to climb until we're too old to climb trees, we write constitutions to protect the rights of people who won't be born for another hundred years and may not be worth the trouble anyway, and we try to take care of our sick, though we all suffer from a disease for which there is no cure and no hope for one. We will not last and we know we will not - and still we write, carve, build, paint and plant to last. We are, it seems to me, very, very brave.

We played more rock music when we were writing the script. 'Renegade'. All of the Styx songs. All of the old '70's and '80's music, that's the stuff that's pounding in the background while we were doing this stuff. It's a part of those movies.

We only store in memory images of value. To write about one's life is to live it twice, and the second time is both spiritual and historical.

We ought not to confine ourselves either to writing or to reading; the one, continuous writing, will cast a gloom over our strength, and exhaust it; the other will make our strength flabby and watery. It is better to have recourse to them alternately, and to blend one with the other, so that the fruits of one's reading may be reduced to concrete form by the pen.

We postpone our literary work until we have more ripeness and skill to write, and we one day discover that our literary talent wasa youthful effervescence which we have now lost.

We're a live band. Some bands write their songs in the studio - we don't do that. We're playing songs on this tour that were written three days before the tour. And it feels good to try these songs.

We preach sermons, write books on apologetics, conduct city-wide evangelistic campaigns. For those alienated from the church, that approach no longer has the same drawing power. And for the truly needy, words alone don't satisfy; "A hungry person has no ears," as one relief worker told me. A skeptical world judges the truth of what we say by the proof of how we live.

We rarely know where we are going; writing is a discovery.

We prematurely write off people as failures. We are too much in awe of those who succeed and far too dismissive of those who fail.

We're all writing out of a wound, and that's where our song comes from. The wound is singing. We're singing back to those who've been wounded.

We're all the scriptures. We live the scriptures. The scriptures doesn't manifest unless it is amongst human beings and the scriptures are for us, written by us. The scriptures didn't write itself. We wrote the scriptures.

We really had the whole piece laid out in like a Word file, just from beginning to end. It was kind of more like your creative-writing class in school. You know, you have the outline and then you just kind of plug the stuff in the little map you've made.

We're always being told 'find your voice.' When I was younger, I never really knew what this meant. I used to worry a lot about voice, wondering if I had my own. But now I realize that the only way to find your voice is to use it. It's hardwired, built into you. Talk about the things you love. Your voice will follow.

We're artists. We cry out to be exploited on some level. Write a dissertation on my work. Write a biography about me.

We're at the end of long cycle that began in 1945, loading the economy with debt. We're not going to be able to get out of it until you write down the debts. But that's what the IMF believes is unthinkable. It can't say that, because it's supposed to represent the interest of the banks.

We really try to make sure that the band writes the songs, not just one person.

We're at an interesting phase of Asian and Asian-American writing, where we might succeed in having readers look at us as creative individuals who write with fury and fire about the world, and in new ways, without having them say things like "I read a really good Indian book," or "That Malaysian fellow writes very well." So I hope by identifying as Indian I can get people who don't usually read "ethnic" or "Indian" literature to read that literature and enjoy it.

We're having so much writing some of the sillier stuff that never would have been on Mr. Show. And that's not a knock on Mr. Show at all, because it's my favorite comedy show of all time. Even before I worked on it. It's just really refreshing to write something so stupid and say, "We gotta do that.

We're in a chronic debt-deflation. There's no way we can recover unless you write down the debts. And that's what the IMF basically is implying (and it was explicit regarding Greece), but its not spelling it out, because that's not what can be said in polite company.

We're historians and above all want to write about what was. Our book doesn't deal with legacies. It also wasn't our goal to destroy a legend. We consider Walesa to be a national symbol. He led Solidarity and remains an icon. But he also worked with the secret police under the name Bolek. The truth isn't always simply black and white.

We're kinda always writing, so it's like we're always thinking about what's next, so that'd be a yes. We're always constantly wanting to get onto the next thing or the new thing.

We’re happier when the assholes are villains.

We're in a world where there's famine and hunger and people are dodging bullets and having their nails pulled out in dungeons so it's very hard for me to place any high value on the work that I do to write a song. Yeah, I work hard but compared to what?

Were I to write what I know, the book would be too sensational to print, but were I to write what I think proper, it would be too dull to read.

We're looking for stories that speak to us. We're looking for stories that connect us with something true. But, instead, a lot of the time we get strippers. All I'm saying is, when boys are writing the stories, the percentage of strippers is bound to go up. And real stories about real women kinda don't get written at all.

We're not on a desperate mission to write chart compatible stuff.

Were not one thing, as human beings, so any character that is written uni-dimensional, thats just a shallow character with shallow writing and shallow acting.

We're so lucky to be living in this day and age when technology - the tools to tell our stories - is so accessible. However, content still reigns supreme. So find your voice, your unique voice, it's there inside of you. Find it, define it, write it down on paper, hone it, and clarify it. Everything else is just technology which will help you tell your story.

We're professional worriers. You're constantly imagining things that could go wrong and then writing about them.

We're not the kind of band who writes an order abundance of songs and picks from them, we usually write for the album.

We're talking about an extremely prolific poet and songwriter and lyricist. That stuff comes off the top of her head. She [Joni Mitchell] will write exactly what she lives. If she puts some money in the soda machine, she'll write about putting money in the soda machine. "Dry Cleaner from Des Moines," on the Shadows & Light album, was about sitting next to a dry cleaner from Des Moines, playing a slot machine.

We're on an indie label. We don't have mass marketing behind us, and we don't have big budgets. We do our own thing. We do exactly what we want to do. We produce our own music. We write ourselves. We record ourselves. We mix ourselves. The artwork is done by my brother. That's not selling out. We're doing exactly what we want to do.

We're [writers] all afraid of writing badly, and there are psychological reasons, like the bad interior of ourselves is somehow being revealed, but we all fear that, and you can't write well if you're not willing to write badly. That's why you have to make writing a habit, so it feels normal and not strange.

We're writing a book together. She just finished one. Did you read it? Among the Porcupines?

We said good-bye, and Dill went inside the house. He evidently remembered he was engaged to me, for he ran back out and kissed me swiftly in front of Jem. "Yawl write, hear?" he bawled after us.

Were you here in the bad old days? ... That's why you can't read and write then!

We're the only branch of government that explains itself in writing every time itmakes a decision.

We sat around on a hotel balcony with a bottle of wine and tried to figure out how you would go about blowing up a planet. That's the kind of conversations science fiction writers have when they get together. We don't talk about football or anything like that.

We shall have a race of men who are strong on telemetry and space communications but who cannot read anything but a blueprint or write anything but a computer program.

We shall not busy ourselves with what men ought to have admired, what they ought to have written, what they ought to have thought, but with what they did think, write, admire.

We should have a glorious conflagration, if all who cannot put fire into their works would only consent to put their works into the fire.

We should imitate the great classics. We would miss, and that miss would be our originality.

We should think about what we mean by literacy. If you say, "He's a very literate person," what you really mean is that he knows a lot, thinks a lot, has a certain frame of mind that comes through reading and knowing about various subjects.The major route open to literacy has been through reading and writing text. But we're seeing new media offer richer ways to explore knowledge and communicate, through sound and pictures.

We should think more about it, and accustom ourselves to the thought of death. We can't allow the fear of death to creep up on us unexpectedly. We have to make the fear familiar, and one way is to write about it. I don't think writing and thinking about death is characteristic only of old men. I think that if people began thinking about death sooner, they'd make fewer foolish mistakes.

we should write because writing brings clarity and passion to the act of living. writing is sensual, experiential, grounding. we should write because writing is good for the soul. we should write because writing yields us a body of work, a felt path through the world we live in.

We singer-songwriter people, we're used to getting up and doing our own thing in front of people, and we're it. We're the band, artist, writer, producer, front man. We're the whole thing. You develop, it's not smugness, but this self-reliance, that can limit your creativity. When you're willing and able to invite others into it, you wind up getting a piece of work that's bigger and better than anything you ever imagined it could be.

We speak naturally but spend all our lives trying to write naturally.

Wesley Stace has always been the only genuinely gifted fiction writer who also happens to be a rock star, but Wonderkid is the book he was born to write. And if you prefer your novels brazen, poignant and hilarious, as I do, you were born to read it. Like a great show, this will stay with you long after the last cymbal crash and power strum.

We should write an elegy for every day that has slipped through our lives unnoticed and unappreciated. Better still, we should write a song of thanksgiving for all the days that remain-now that we know how to cherish them.

We still write too many stories that are "state of the race" stories that are informed almost solely by what the polling shows and by what we're then deducing about who's up, who's down, and I'm just not sure that's very helpful to readers, it certainly doesn't elevate the debate and, and the problem is if you, if you cover these things, and I don't think the Times is particularly culpable, I think other news organizations are worse, if you cover them in an entirely "who's up, who's down" horse race way.