Best 30386 quotes in «writing quotes» category

The material's out there, a calm lake waiting for us to dive in.

The meaning of your work can’t be summed up by an engagement button on social media.

The memories of walks...are hitched on to particular times and places; they spontaneously form a kind of calendar or connecting thread upon which other memories may be strung...The author is but the accidental appendage of the tramp.

Themes elevate a good book to a great read.

The memory will most likely come to me when I least expect it. When I'm in the middle of something else.

Themes are the very souls of stories.

The mind has plenty of ways of preventing you from writing, and paralysing self-consciousness is a good one. The only thing to do is ignore it, and remember what Vincent van Gogh said in one of his letters about the painter's fear of the blank canvas - the canvas, he said, is far more afraid of the painter.

The mind of an artist never sleeps, because dreaming is when they do their best work.

The modern cheap and fertile press, with all its translations, has done little to bring us nearer to the heroic writers of antiquity.

The mistakes of the world are warning message for you.

The moment I had a plan or an idea of what to write I couldn’t stop

The miracle of wonder is sacred writing.

The moment I realize I just stayed up until five in the morning writing is that moment I know I am meant to be a writer.

The more I drink the better I write and the more I write the better I drink.

The moon speaks in slivers and halves.

The more I learned the less I felt I knew you and I got lost counting stars, I fell dreaming. Sometimes I’d wander away. Maybe I wasn’t ready or maybe it was just a hard time to love. You always reminded me of home and I could never fathom the reasoning behind your smile. Perhaps one day, if we believe enough, we’ll find our way.

The more characters you have, the bigger the book, the more flaming chain saws.

The more good ideas you have, the more good ideas you will get.

The more of those little light bulbs that can turn on the better. Eventually you’ll have enough to light up a movie screen.

The more thou search, the more thou shall marvel; for the world hast fast to pass away-

The more thou search, the more thou shall marvel.

The more I write stories for young people, and the more young readers I meet, the more I'm struck by how much kids long to see themselves in stories. To see their identities and perspectives—their avatars—on the page. Not as issues to be addressed or as icons for social commentary, but simply as people who get to do cool things in amazing worlds. Yes, all the “issue” books are great and have a place in literature, but it's a different and wildly joyous gift to find yourself on the pages of an entertainment, experiencing the thrills and chills of a world more adventurous than our own. And when you see that as a writer, you quickly realize that you don't want to be the jerk who says to a young reader, “Sorry, kid. You don't get to exist in story; you're too different.” You don't want to be part of our present dystopia that tells kids that if they just stopped being who they are they could have a story written about them, too. That's the role of the bad guy in the dystopian stories, right? Given a choice, I'd rather be the storyteller who says every kid can have a chance to star.

The more you read, the more you write, and the more you free yourself to do so, the better writer you will become.

The more you focus on fun, the more fun you have.

The most clear-sided view of the darkest possible situation is itself an act of optimism

The most critical part of becoming “so good they can’t ignore you” is to be “so prolific you don’t recognise yourself”. Once you cross that threshold you can actually look at your own work with a relatively objective, critical eye.

The most difficult thing about writing; is writing the first line.

The most difficult thing to do after a life well lived is to sit down and type it all out. To start with, your fingers are old and gnarled. You can see the skin crinkled up like paper, the knobby knuckles, the veins standing up blue and aggressive and you wonder, when did your hands change, when did they stop being young and firm and definite, when did the hesitancy creep in, when did the trembling begin. Your mind sieves through memories as thick as molasses and as bitterly sweet. The words trip on your tongue but hesitate to make their way onto the page because you debate endlessly in your head about which of them you should put down in print, terrified of the permanency of the written word. Memories are the kind of elusiveness that shift, change form, and remodel themselves by the second. It is a challenge to wrestle with them, to get them to agree to be analysed, to be put down in words and encapsulated into sentences, moulded into paragraphs. As long as they are shifting, morphing into different things as the moment suits them, they aren’t bound by one person’s recollection of how things were, of how they happened. These are my memories. And this was my life. And so I try to write this. I am already half way through what I am trying to put down. I have no idea who would want to read the story of my life. But I write it out, more for myself, than for anyone else who would care to read.

The most essential gift for a good writer is a built-in, shock-proof, shit detector. This is the writer's radar and all great writers have had it.

The most fascinating thing to me about your letter is that buried beneath all the anxiety and sorrow and fear and self-loathing, there’s arrogance at its core. It presumes you should be successful at twenty-six, when really it takes most writers much longer to get there.

The most important advantage of writing is that it helps us confront ourselves when we do not understand something as well as we would like to believe.

The music lets me see the story but the story doesn't let me write the words.

The most successful critics are always scribbling things in their programs, largely because it gives them an important and industrious air. Also, it is interesting to try to figure out what you've written afterward. Last week, for instance, I made a very helpful note during the second act of a drama called "They Walk Alone." "Lanchstr get face stuck 1 these nights awful if," it seemed to say.

The movement Of the body is Where poetry Begins

The murder of a child has no justification, even if the bombs have missed their mark.

The name of a great writer is usually bigger than the title of his book. Both literally and figuratively.

Then an argument would ensue because they were men with different ideas.

The myth that we must have "time" - more time - in order to create is a myth that keeps us from using the time we do have. If we are forever yearning for "more", we are forever discounting what is offered.

The New World Order is established by degrees. The first degree is truth of the one subject, which follows from the existence and the oneness of the universe, and from the ancient belief that God is all-knowing.

The nature of poems Is a matter of words and deeds An intimate encounter of voice In the ache of the heart In the labor of breathing A hesitant casting of eyes Away from the mundane to see That delicate and shiny thing In the oddly prosaic rock pile An extravagance of conceit An abundance of grace A prayer for words to speak

Then he went into the dining room, consulting his watch. It was ten thirty already. More than half the morning was gone. More than half the time for sitting and trying to write the prose that would make people sit up and gasp. It happened that way more often now than he would even admit to himself. Sleeping late, making up errands, doing anything to forestall the terrible moment when he must sit down before his typewriter and try to wrench some harvest from the growing desert of his mind. (“Mad House”)

The night before a deadline, I usually am in desperate need of a back rub. And new wrists. And candy. And little mice to secretly finish the job while I am sleeping.

Then I realized that I was falling victim to one of the fallacies of the bad reviewer (whose habits we already discussed at length in yesterday’s commentary). I was wishing that Hamid had written a different book than he had. How I might have written this story is completely irrelevant. It would be like dismissing The Godfather because I wished it were a musical. The novel needs to be considered on its own terms.

Then it happened. One night as the rain beat on the slanted kitchen roof a great spirit slipped forever into my life. I held his book in my hands and trembled as he spoke to me of man and the world, of love and wisdom, pain and guilt, and I knew I would never be the same. His name was Fyodor Mikhailovich Dostoyevsky. He knew more of fathers and sons than any man in the world, and of brothers and sisters, priests and rogues, guilt and innocence. Dostoyevsky changed me. The Idiot, The Possessed, The Brothers Karamazov, The Gambler. He turned me inside out. I found I could breathe, could see invisible horizons. The hatred for my father melted. I loved my father, poor, suffering, haunted wretch. I loved my mother too, and all my family. It was time to become a man, to leave San Elmo and go out into the world. I wanted to think and feel like Dostoyevsky. I wanted to write. The week before I left town the draft board summoned me to Sacramento for my physical. I was glad to go. Someone other than myself could make my decisions. The army turned me down. I had asthma. Inflammation of the bronchial tubes. “That’s nothing. I’ve always had it.” “See your doctor.” I got the needed information from a medical book at the public library. Was asthma fatal? It could be. And so be it. Dostoyevsky had epilepsy, I had asthma. To write well a man must have a fatal ailment. It was the only way to deal with the presence of death.

Then I realized the vital necessity of art. Human life, yes, you nurse people, you clean house, you market, but then comes the moment of solace and flight. i sit and write and summon other friends, other forms of life, other experiences, and the voyage and the exploration, the delving into character, the vast expanse of life's possibilities and potentialities, contemplation of future travels, of dazzling friendships, all this then makes the chores and the sacrifices beautiful because they are diverted toward some beautiful aim, they become part of the structure of a work of art.

The novelist’s happy discovery was to think of substituting for those opaque sections, impenetrable by the human spirit, their equivalent in immaterial sections, things, that is, which the spirit can assimilate to itself. After which it matters not that the actions, the feelings of this new order of creatures appear to us in the guise of truth, since we have made them our own, since it is in ourselves that they are happening, that they are holding in thrall, while we turn over, feverishly, the pages of the book, our quickened breath and staring eyes. And once the novelist has brought us to that state, in which, as in all purely mental states, every emotion is multiplied ten-fold, into which his book comes to disturb us as might a dream, but a dream more lucid, and of a more lasting impression than those which come to us in sleep; why, then, for the space of an hour he sets free within us all the joys and sorrows in the world, a few of which, only, we should have to spend years of our actual life in getting to know, and the keenest, the most intense of which would never have been revealed to us because the slow course of their development stops our perception of them.

The nutritionist said I should eat root vegetables. Said if I could get down thirteen turnips a day I would be grounded, rooted. Said my head would not keep flying away to where the darkness lives. The psychic told me my heart carries too much weight. Said for twenty dollars she’d tell me what to do. I handed her the twenty. She said, “Stop worrying, darling. You will find a good man soon.” The first psycho therapist told me to spend three hours each day sitting in a dark closet with my eyes closed and ears plugged. I tried it once but couldn’t stop thinking about how gay it was to be sitting in the closet. The yogi told me to stretch everything but the truth. Said to focus on the out breath. Said everyone finds happiness when they care more about what they give than what they get. The pharmacist said, “Lexapro, Lamicatl, Lithium, Xanax.” The doctor said an anti-psychotic might help me forget what the trauma said. The trauma said, “Don’t write these poems. Nobody wants to hear you cry about the grief inside your bones.” But my bones said, “Tyler Clementi jumped from the George Washington Bridge into the Hudson River convinced he was entirely alone.” My bones said, “Write the poems.

The novelist works neither to correct nor to condone, not at all to comfort, but to make what's told alive.

Then she said, "Listen to me, and listen to me carefully. What you are writing, and what you want to write," and she leaned forward again and tapped with her finger the piece I had given her, "this is very good and it will be published. Now listen. People will go after you for combining poverty and abuse. Such a stupid word, 'abuse', such a conventional and stupid word, but people will say there's poverty without abuse, and you will never say anything. Never ever defend your work. This is a story about love, you know that. This is a story of a man who has been tortured every day of his life for things he did in the war. This is the story of a wife who stayed with him, because most wives did in that generation, and she comes to her daughter's hospital room and talks compulsively about everyone's marriage going bad, she doesn't even know it, doesn't even know that's what she's doing. This is a story about a mother that loves her daughter. Imperfectly. Because we all love imperfectly. But if you find yourself protecting anyone as you write this piece, remember this: You're not doing it right.

Then you repeat. The thing that goes badly wrong means that the someone we like has to take another step to get around the bad wrongness and back toward the something he wants VERY BADLY. He takes the next step, and everything goes even more badly wrong. Then he loses his map. Then his flashlight falls into a storm drain and he has an asthma attack and his seeing eye dog dies. Then the cop who pulls him over for speeding while driving drunk in the nude turns out to be the short-tempered father of the bride he is marrying tomorrow. Then it goes more badly wrong for the someone we like, much more badly. Then the party is attacked and scattered by a band of goblins, and then the Gollum is on his trail, and the lure of the Ring is slowly destroying his mind. Then he finds the blasted corpses of his foster parents killed by Imperial Storm Troopers, and his house burnt to the ground. Then Lex Luthor chains a lump of Kryptonite around his neck and pushes him into a swimming pool and fires twin stealth atomic rockets at the San Andreas Fault in California and at Hackensack, New Jersey. And the spunky but beautiful girl reporter falls into a crack in the earth and dies. Then he is stung by Shelob and dies. Then he is maimed by Darth Vader and discovers his arch foe is his very own father, and he loses his grip and falls. Then he steps out unarmed to confront Lord Voldemort and dies. Then Judas Iscariot kisses him, Peter denounces him, he is humiliated, spat upon, whipped, betrayed by the crowd, tortured, sees his weeping mother, and dies a painful, horrible death and dies. Then he is thrown overboard and swallowed by a whale and dies. Then he gets help, gets better, arises from his swoon, is raised from the dead, the stone rolls back, the lucky shot hits the thermal exhaust port, and the Death Star blows up, the Dark Tower falls, the spunky but beautiful girl reporter is alive again due to a time paradox, and he is given all power under heaven and earth and either rides off into the sunset, or goes back to the bat-cave, or ascends into heaven, and we roll the credits.