Best 30386 quotes in «writing quotes» category

They say the test of [literary power] is whether a man can write an inscription. I say, "Can he name a kitten?" And by this test I am condemned, for I cannot.

They say to just write about what's happening in your backyard because that's where you find the most creativity. It's in the DNA of the show. There's no question.

They think written words are even more powerful,’ whispered the toad. ‘They think all writing is magic. Words worry them. See their swords? They glow blue in the presence of lawyers.

They want me to write differently. Certainly I could, but I must not. God has chosen me from thousands and given me, of all people, this talent. It is to Him that I must give account. How then would I stand there before Almighty God, if I followed the others and not Him?

They [The Beatles ] were the first band to write their own songs in Britain because we always just covered American songs before that.

They told me that they are starting a classic label, and wanted me to be the first artist. So I signed, and am producing myself, and writing my own music, but I'm their first artist on their classic label. And I have creative control.

They've been screaming about the death of literacy for years, but I think TV is the Gutenberg [printing] press. I think TV is the only thing that keeps us vaguely in democracy even if it's in the hands of the corporate culture. If you're an artist you write in your time. Moaning about the fact that maybe people read more books a hundred years ago - that's not true. I think the same percentage has always read.

They who love to inform themselves, are never idle. Though I have no business of consequence to take care of, I am nevertheless continually employed. I spend my life in examining things: I write down in the evening whatever I have remarked, what I have seen, and what I have heard in the day: every thing engages my attention, and every thing excites my wonder: I am like an infant, whose organs, as yet tender, are strongly affected by the slightest objects.

Thich Nhat Hanh writes with the voice of the Buddha.

Things are much more complicated. Feminism versus pornography, for example. There are a lot of feminists who think it is bad, but others think it's good. I have become, you might call it mature - I would call it senile - and I can see both sides. But you can't write a satirical song with 'but on the other hand' in it, or 'however'. It's got to be one-sided.

They write songs about California girls for a reason.

Things like guitars and ukuleles, you should never part with it, because there will probably be good, healthy times spent, just playing and writing.

Things that I was writing for Wham! were a strong indication of what my future album would be like. But most people got so lost in our image and found it pretty repulsive.

Things musicals taught me: All your problems will go away if you sing about it.

Things that I have a hard time being able to fully grasp, sometimes writing the poem helps me work through it. Or I get to the end of the poem and I still haven't figured anything out, but at least I have a new poem out of it.

Things which any idiot could write usually have the quality of having been written by an idiot.

Think about every time you've seen someone being objectified, abused, enslaved. We see it constantly on the TV, in magazines, on the Internet. We've become numb, so we do nothing. The accumulation of passivity might make reading about that exploitation uncomfortable. And sometimes when I'm writing, I think of it like this: "People seem to like garbage, so here is what garbage smells like...

Think about the stories you have inside that scare you. That's what you should be writing. I and others call that writing from the dark place. Our humiliations and secret fears and deepest anxieties, those times where we were at our worst: that's the best material.

Things may not be immediately discernible in what a man writes, and in this sometimes he is fortunate; but eventually they are quite clear and by these and the degree of alchemy that he possesses he will endure or be forgotten.

Think about that: at a time when it was inconceivable to have a woman rabbi or a woman scholar of Christian theology or canon law, the Islamic civilization boasted hundreds of women who were authorities in Islamic law and Islamic theology and that taught some of the most famous male jurists and left behind a remarkable corpus of writings.

Think 'Game of Thrones.' In the old days, this sort of show might be considered bad writing. It doesn't really seem to be moving toward a crisis or climax, it has no true protagonist, and it's structured less like a TV show or a movie than a soap opera.

Thinking, writing are ultimately questions of stamina.

Thinking in prose is different. I gained an immense amount of respect for people who write prose, and also felt even more sure that the thinking particular to poetry is essential to my life. I need to think, to explore, to question, in poetry. Without that feeling, I am, in some ultimate way, lost.

Thinking cannot be clear until it has had expression-we must write, or speak, or act our thoughts, or they will remain in half torpid form. Our feelings must have expression, or they will be as clouds, which, till they descend in rain, will never bring up fruit or flowers. So it is with all the inward feelings; expression gives them development-thought is the blossom; language is the opening bud; action the fruit behind it.

Thinking is creating with God, as thinking is writing with the ready writer; and worlds are only leaves turned over in the process of composition, about his throne.

Thinking about writing as an act of celebration is sometimes a helpful framework for me. It allows me to prioritize what I want to call attention to and what I want others to know about me. It makes me ask: What is worth celebrating?

Thinking is the activity I love best, and writing to me is simply thinking through my fingers. I can write up to 18 hours a day. Typing 90 words a minute, I've done better than 50 pages a day. Nothing interferes with my concentration. You could put an orgy in my office and I wouldn't look up-well, maybe once.

Thinking visually is my starting point, and then the writing happens.

Think of all that hard work our founding fathers put in - the revolutionizing, the three-fifths compromising, having to write the entire Constitution with a quill - and yet they neglected to include the right to vote.

think what you hope for is that at different times of your life you're able to write the poetry that reflects the moment that you're in on your own journey.

Think of a book special to you, and how much bleaker and poorer your life would be if that one writer had not existed - if that one writer had not, a hundred times or a thousand, made the choice to write. You're going to be that one writer one day for somebody you may never meet. Nobody can write that book you're going to write - that book that will light up and change up a life - but you.

This above all-ask yourself in the stillest hour of your night: must I write? Delve into yourself for a deep answer. And if this should be affirmative, if you may meet this earnest question with a strong and simple "I must," then build your life according to this necessity; your life even into its most indifferent and slightest hour must be a sign of this urge and a testimony to it. Then draw near to Nature. Then try, like some first human being, to say what you see and experience and love and lose.

This cell belongs to a brain, and it is my brain, the brain of me who is writing; and the cell in question, and within it the atom in question, is in charge of my writing, in a gigantic minuscule game which nobody has yet described. It is that which at this instant, issuing out of a labyrinthine tangle of yeses and nos, makes my hand run along a certain path on the paper, mark it with these volutes that are signs: a double snap, up and down, between two levels of energy, guides this hand of mine to impress on the paper this dot, here, this one.

This concept could easily have gone awry. Stories about love tend to go that way sometimes. They wander into the realm of cheese and never return, which I think is a shame, because there is a way to write about romantic love without breaking out the Velveeta.

This at least should be a rule through the letter-writing world: that no angry letter be posted till four-and-twenty hours will have elapsed since it was written.

This afternoon, burn down the house. Tomorrow, pour critical water upon the simmering coals. Time enough to think and cut and rewrite tomorrow. But today-explode-f ly-apart-disint egrate! The other six or seven drafts are going to be pure torture. So why not enjoy the first draft, in the hope that your joy will seek and find others in the world who, by reading your story, will catch fire, too?

This book blew me away. Kelly Parra writes with the keen eye of an artist. Graffiti Girl is warm, gutsy, and true-to-life - an unflinching, honest portrayal of young adults. A seamless and impressive debut.

This business [moviemaking] isn't easy. It's a hard business. You just keep plugging away until you figure it out. You write something you love and keep banging on people's heads until somebody lets you do it.

This dilettantish inability to comprehend the essential issues of the conduct of production affairs is not only manifested in the writings of Marx and Engels. It permeates no less the contributions of contemporary pseudo-economics.

This desire [to write] is rather strange all the same and is not without a certain "cracked" quality.

This evening I begin a notebook. If anyone reads this, I trust they will forgive my overuse of "I". I can't stop it. I'm writing this.

This fear is one of the horrors of an author's life. Where does work come from? What chance, what small episode will start the chain of creation? I once wrote a story about a writer who could not write anymore, and my friend Tennessee Williams said, 'How could you dare write that story, it's the most frightening work I have ever read.' I was pretty well sunk while I was writing it.

This doctrine of Christ and of the apostles, from which the true faith of the primitive church was received, the apostles at first delivered orally, without writing, but later, not by any human counsel but by the will of God, they handed it on in the Scriptures.

This distraction is what one wants, which is very, very bad for the muse, because the muse hates not being in the line of sight. It's no longer an external conflict, like, oh, I have all these demands and I don't like them. The split is in the self. This may explain why, when I was in Santa Barbara before I went to Singapore and then now to Hong Kong, there was a writing moment when I was writing a poem a day. I had never done that before.

This fact was something I also learned from this first novel that I needed personal experience to invent, to fantasize, to create fiction, but at the same time I needed some distance, some perspective on this experience in order to feel free enough to manipulate it and to transform it into fiction. If the experience is very close, I feel inhibited. I have never been able to write fiction about something that has happened to me recently. If the closeness of the real reality, of living reality, is to have a persuasive effect on my imagination, I need a distance, a distance in time and in space.

This grant gave me more than memories; it gave me a crucial experience that is formative to all writers: the ability to perceive that we become writers in exile, where what we write is the only link across distance and time…I became a Maryland writer because the community of Juneau took me in.

This great Mughal Emperor [Akbar] was illiterate; he could neither read nor write. However, that had not stopped Akbar from cultivating the acquaintance of the most learned and cultured poets, authors, musicians, and architects of the time - relying solely on his remarkable memory during conversations with them.

This is a faithless old world. Men and women are hardheaded, pleasure-mad, money crazy. They write up their successes and say, "The power and might of my hand have done these things." God has been ruled out; consequently, the thrill and romance of true living are gone for most people.

This is a landmark work in the history of African American studies and American intellectual history. Writing with verve, Jackson brings to life a large cast of characters and traces an ongoing conversation among the writers and critics of this period. This book is likely to become a model for a new generation of scholars, both for the breadth of its engagement and the depth of its archival research.

This is a stamina game, so don't despair if you run down a blind alley and have to start over, or if you get another rejection letter. Every successful writer has gone through that, but they kept writing and didn't quit until they made it happen.