Best 30386 quotes in «writing quotes» category

No matter how much enthusiasm and effort you put into writing, if you totally lack literary talent you can forget about being a novelist.

No matter what a person does to cover up and conceal themselves, when we write and lose control, I can spot a person from Alabama, Florida, South Carolina a mile away even if they make no exact reference to location. Their words are lush like the land they come from, filled with nine aunties, people named Bubba. There is something extravagant and wild about what they have to say — snakes on the roof of a car, swamps, a delta, sweat, the smell of sea, buzz of an air conditioner, Coca-Cola — something fertile, with a hidden danger or shame, thick like the humidity, unspoken yet ever-present. Often when a southerner reads, the members of the class look at each other, and you can hear them thinking, gee, I can't write like that. The power and force of the land is heard in the piece. These southerners know the names of what shrubs hang over what creek, what dogwood flowers bloom what color, what kind of soil is under their feet. I tease the class, "Pay no mind. It's the southern writing gene. The rest of us have to toil away.

Nommer c'est montrer et [...] montrer c'est changer.

Nonfiction. I didn’t choose it as much as it chose me. It squatted and birthed me one raw winter day then jerked me up and set me to scribing.

Nonetheless, writing regularly, inspiration or no, is not a bad way to eventually get into an inspired mood; the plane has to bump along the runway for a while before it finally takes off.

No. Not really red, but the color of a rose when it bleeds.

. . . None of us are born as passive generic blobs waiting for the world to stamp its imprint on us. Instead we show up possessing already a highly refined and individuated soul. Another way of thinking of it is: We're not born with unlimited choices. We can't be anything we want to be. We come into this world with a specific, personal destiny. We have a job to do, a calling to enact, a self to become. We are who we are from the cradle, and we're stuck with it. Our job in this lifetime is not to shape ourselves into some ideal we imagine we ought to be, but to find out who we already are and become it.

No one can tell you what you can and cannot put in your book. So be brave and just write!

No one has ever stood out by being a conformist.

No one is better than anyone else. Some just simply don't fulfil their potential of being the best they possibly can.

No one ever tells you that: that there’s no method. Writing’s a lawless place.

No one ever developed their character by arranging their experiences in such a way that only ‘good’ things are allowed to happen to them. Character is not purchased with a dance in the street. It is not cheap, and it’s hard to come by, owing partly to the fact that it is the heir of disappointment, frustration, betrayal and deceit. However, it is not the inheritance that matters so much as what you do with it. In the face of seemingly insurmountable problems what do you do, and why do you do it? The same holds for dramatic characters whose strength, courage, insight and wisdom have to be earned.

No one is without Christianity, if we agree on what we mean by the word. It is every individual's individual code of behavior, by means of which he makes himself a better human being than his nature wants to be, if he followed his nature only. Whatever its symbol—cross or crescent or whatever—that symbol is man's reminder of his duty inside the human race. Its various allegories are the charts against which he measures himself and learns to know what he is. It cannot teach man to be good as the textbook teaches him mathematics. It shows him how to discover himself, evolve for himself a moral code and standard within his capacities and aspirations, by giving him a matchless example of suffering and sacrifice and the promise of hope.

No one knows if something works until it actually works. That's why you must always try.

No one writes anything worth writing, unless he writes entirely for the sake of his subject.

No price is too high to pay, to be the author of your fate.

Norman Mailer enhances the beauty of pugilism by elegantly exploring it.

No, she laughed." How on earth could that be done? If you try to laugh and say ‘No’ at the same time, it sounds like neighing — yet people are perpetually doing it in novels. If they did it in real life they would be locked up.

Not all writers are silently suffering inside. But it certainly helps.

Not all of Derrida's writing is to everyone's taste. He had an irritating habit of overusing the rhetorical question, which lends itself easily to parody: 'What is it, to speak? How can I even speak of this? Who is this "I" who speaks of speaking?

Not everyone will like what you write but there's a certain group who'll love what you write. Keep WRITING for them.

Not every story started off big enough to notice.

Not everything can stand the test of time, but a story can.

Not every self-published indie author is bad. There actually are some very good ones. But they're the exception, not the rule.

Nothing ever really ends. That’s the horrible part of being in the short-story business—you have to be a real expert on ends. Nothing in real life ends. ‘Millicent at last understands.’ Nobody ever understands.

Nothing is wasted when you are a writer. The stuff that doesn't work has to be written to make way for the stuff that might; often you need to take the long way around. And if you're writing memoir you're bound to discover things about yourself you didn't realize before, may indeed prefer never to have know, but there you are: progress of some sort.

Nothing makes a person desire improvement like failure

Nothing listens as well as a blank page.

Nothing is owed to us in life, not even the innocence of a blue sky. Great art is the art of thankfulness for the abundance of every moment. Writing is a Chinese variant of this thankfulness, a courtesy to life in its cloak of nothing, lined with love.

Nothing is sillier than the creative writing teacher's dictum "Write about what you know." But whether you're writing about people or dragons, your personal observation of how things happen in the world—how character reveals itself—can turn a dead scene into a vital one. Preliminary good advice might be: Write as if you were a movie camera. Get exactly what is there. All human beings see with astonishing accuracy, not that they can necessarily write it down.

Nothing was a natural predator of productive fiction writing like the cell phone. Ditto the laptop. As she had well learned, the laptop could destroy a day.

Nothing that is written is of the least importance.

Nothing you write, if you hope to be any good, will ever come out as you first hoped.

Not long ago, I advertised for perverse rules of grammar, along the lines of "Remember to never split an infinitive" and "The passive voice should never be used." The notion of making a mistake while laying down rules ("Thimk," "We Never Make Misteaks") is highly unoriginal, and it turns out that English teachers have been circulating lists of fumblerules for years. As owner of the world's largest collection, and with thanks to scores of readers, let me pass along a bunch of these never-say-neverisms: * Avoid run-on sentences they are hard to read. * Don't use no double negatives. * Use the semicolon properly, always use it where it is appropriate; and never where it isn't. * Reserve the apostrophe for it's proper use and omit it when its not needed. * Do not put statements in the negative form. * Verbs has to agree with their subjects. * No sentence fragments. * Proofread carefully to see if you any words out. * Avoid commas, that are not necessary. * If you reread your work, you will find on rereading that a great deal of repetition can be avoided by rereading and editing. * A writer must not shift your point of view. * Eschew dialect, irregardless. * And don't start a sentence with a conjunction. * Don't overuse exclamation marks!!! * Place pronouns as close as possible, especially in long sentences, as of 10 or more words, to their antecedents. * Writers should always hyphenate between syllables and avoid un-necessary hyph-ens. * Write all adverbial forms correct. * Don't use contractions in formal writing. * Writing carefully, dangling participles must be avoided. * It is incumbent on us to avoid archaisms. * If any word is improper at the end of a sentence, a linking verb is. * Steer clear of incorrect forms of verbs that have snuck in the language. * Take the bull by the hand and avoid mixed metaphors. * Avoid trendy locutions that sound flaky. * Never, ever use repetitive redundancies. * Everyone should be careful to use a singular pronoun with singular nouns in their writing. * If I've told you once, I've told you a thousand times, resist hyperbole. * Also, avoid awkward or affected alliteration. * Don't string too many prepositional phrases together unless you are walking through the valley of the shadow of death. * Always pick on the correct idiom. * "Avoid overuse of 'quotation "marks."'" * The adverb always follows the verb. * Last but not least, avoid cliches like the plague; seek viable alternatives." (New York Times, November 4, 1979; later also published in book form)

Not that length and weight alone indicate excellence; many epic tales are pretty much epic crap.

No tricks, no tools, but talent makes a task truly top class.

Not that the story need be long, but it will take a long while to make it short.” [Letter to Harrison Blake; November 16, 1857]

Novelist by day; screenwriter by night.

Novelists don't normally write about what's going on; they write about what's not going on.

Novels by serious writers of genius often eventually become best-sellers, but most contemporary best-sellers are written by second-class writers whose psychological brew contains a touch of naïvety, a touch of sentimentality, the story-telling gift, and a mysterious sympathy with the day-dreams of ordinary people.

Novelist: A person who has more than a dozen novels in the works and thinks it would be novel to finish one.

Novelists,’ said Ivo, ‘are to the nineties what cooks were to the eighties, hairdressers to the seventies and pop-stars to the sixties… Merely, you know, an expression of the Zeitgeist, Nobody actually reads novels any more, but it’s a fashionable thing to be a novelist – as long as you don’t entertain people of course. I sometimes think,’ said Ivo, his eyes like industrial diamonds, ‘that my sole virtue is, I’m the only person in London who has no intention of writing any kind of novel, ever.

Novels are just very, very, very long lies. That is to say, you’ve got to get your story straight!

Novelty and Security: the security of novelty, the novelty of security. Always the full thing, the whole subject, the true subject, stood just behind the one you found yourself contemplating. The trick, but it wasn't a trick, was to take up at once the thing you saw and the reason you saw it as well; to always bite off more than you could chew, and then chew it. If it were self-indulgence for him to cut and polish his semiprecious memories, and yet seem like danger, like a struggle he was unfit for, then self-indulgence was a potent force, he must examine it, he must reckon with it.

Novel-writing has in one respect an affinity to the drama—that time and distance are required to soften for use the harsher features that may be exhibited from real life; that it was almost impossible to bring forward events without touching on their causes; and that any tendency to political discussion, however liberal or applicable, was not to be tolerated in a sort of work which people took up with no other design than to be amused at the least possible expence of thought.

Novel writing is World Building & Word Weaving (Neil Postman's terms).

Nowadays, the Internet decides if you're good, not the big man in the big office. No matter how important that man thinks he is, everyone else knows that he's not important anymore, and the Internet decides these things, here in the modern age.

Now hear of the new judgement. You are judged many times more by what you do in groups than for what you do as individuals.

Now he understood why he hated Luis Goodman and other writers so much. He was a damaged person, but not damaged enough to make a life out of it.

No words are too good for the cutting-room floor, no idea so fine that it cannot be phrased more succinctly.