Best 30386 quotes in «writing quotes» category

The road to hell is paved with leeks and potatoes

The road to Hell is paved with unbought stuffed dogs.

The role of the writer is not to say what we can all say, but what we are unable to say. Most of the writing today which is called fiction contains such a poverty of language, such triteness, that it is a shrunken, diminished world we enter, poorer and more formless than the poorest cripple deprived of ears and eyes and tongue. The writer's responsibility is to increase, develop our senses, expand our vision, heighten our awareness and enrich our articulateness.

The roughest part for me when I'm writing a song is staring at a blank page. Where am I going from here? If you're a songwriter, you have to do that every time you start a song.

The rule is: the word 'it's' (with apostrophe) stands for 'it is' or 'it has'. If the word does not stand for 'it is' or 'it has' then what you require is 'its'. This is extremely easy to grasp. Getting your itses mixed up is the greatest solecism in the world of punctuation. No matter that you have a PhD and have read all of Henry James twice. If you still persist in writing, 'Good food at it's best', you deserve to be struck by lightning, hacked up on the spot and buried in an unmarked grave.

The Romans believed that what no man controls, no man can own. Justinian, writing in the sixth century AD, said that the air, flowing water, the sea and the seashore were common to all.

The rules that I adhere to are the rules of minimalism. And those rules kind of force writing to be more filmic... to have the immediacy and accessibility of film so that the reader really has to fill in a lot of the details.

The rumors of Frank Sinatras violence and his ties to organized crime were such that journalists joked in print about me ending up in concrete boots and sleeping with the fishes if I proceeded to write his biography.

The Russian myth that they broadcast to the world, and have their various surrogates in the West repeat, is that somehow the West took advantage of them, that we were mean to them. That writes out of history everything Strobe Talbott and Bill Clinton tried to do with Boris Yeltsin. Strobe Talbott leaned forward doing everything he could to help the Russians, and frankly, I have little patience for the notion that we gave them nothing but bad advice.

The sad part about happy endings is there's nothing to write about.

The sacred writings excepted, no Greek has been so much read and so variously translated as Euclid.

The same common sense which makes an author write good things, makes him dread they are not good enough to deserve reading.

The same with the mortgage brokers that were selling people mortgages they couldn't afford. We shouldn't pay them on each mortgage they write. They should have what they call "skin in the game," where they've got to reimburse us if the guy who sold the mortgage defaults.

The savants will write excellent volumes. There will be laureates. But wars will continue just the same until the forces of the circumstances render them impossible.

The same parts of my brain get as excited as when I study bio or read a novel and write a paper on it.

The scene that scares you the most, that you don't want to write because it's the most difficult to write-that's the one you have to write.  So I think when people have writer's block, it's because what they have to write scares them. And that's usually the heart of the book.

The scholar may be sure that he writes the tougher truth for the calluses on his palms. They give firmness to the sentence. Indeed, the mind never makes a great and successful effort, without a corresponding energy of the body.

The science fiction I write comes from a pretty deep pool of literature, not just from the reflection of other science fiction films, and I think that gives me somewhat deeper roots.

[T]he scripture worshippers put the writings ahead of God. Instead of interpreting God's actions in nature, for example, they interpret nature in the light of the Scripture. Nature says the rock is billions of years old, but the book says different, so even though men wrote the book, and God made the rock and God gave us minds that have found ways to tell how old it is, we still choose to believe the Scripture.

The scope of what I have to say determines the length of what I write.

The script changed so much over seven months and just had loads and loads of re-writes. I tried to tailor things to what I was interested in, like the relationship with the dad changed quite a lot because I thought one of the things when you're a young guy one of your biggest fears is this irrational fear of walking in your dad's footsteps and living the same life as him. I thought, even if your dad's a good guy, you just want to assert your independence on everything and it causes these irrational sort of rages.

These are crystalline - oftentimes incandescent - translations of Juarroz's powerful metaphysical poems where eternity and silence jut up against a world where “writing infects the landscape” and there are “more letters than leaves” - The kind of match one hopes for where both the translator and the poet are in luck; new poems which don't leak and yet old poems in which the original passion shines.

These are rules I've picked up along the way to help me remain invisible when I'm writing a book, to help me show rather than tell what's taking place in the story.

The SEC got more than 100 rules to write under Dodd-Frank, the lion's share of all the agencies. And we've moved, I think, with a tremendous sense of urgency. But it takes a long time to write rules and get them approved by a five-member commission.

These are two opposing forces, and whenever I am in active politics, I stop writing. And when I'm writing, I don't politick.

The secret is not to write about what you love best, but about what you, alone, love at all.

The secret of a great melody is a secret.

The secret of force in writing lies not so much in the pedigree of nouns and adjectives and verbs, as in having something that you believe in to say, and making the parts of speech vividly conscious of it.

The second half of the '60s really was a kind of learning period, in terms of writing, for me.

The second album is the hardest to write. Its nothing like the first album.

The second book, which was probably more from a professional standpoint - when I read Junot Díaz's Drown, I was like, Oh my god, you can write these stories and people will actually read them beyond your own little community. This guy's book is blowing up and it seems like [he's writing about] the neighborhood that I grew up in. That was a big deal. I read that in graduate school, so that's when I was really taking writing seriously, but I didn't know you could do it. I didn't know you can actually be an author. It was a weird epiphany.

The secret is to write just anything, to dare to write just anything, because when you write just anything, you begin to say what is important.

The secret of good writing is telling the truth.

The secret of good writing is to strip every sentence to its cleanest components. Every word that serves no function, every long word that could be a short word, every adverb that carries the same meaning that’s already in the verb, every passive construction that leaves the reader unsure of who is doing what—these are the thousand and one adulterants that weaken the strength of a sentence. And they usually occur in proportion to the education and rank.

The secret of all good writing is sound judgment.

The second person to write a story about a young boy and an escaped slave on the Mississippi wasn't a novelist, he was a typist.

The secret of good writing is to strip every sentence to its cleanest components.

The secret of popular writing is never to put more on a given page than the common reader can lap off it with no strain whatsoever on his habitually slack attention.

The secret truth of 'Celebrity Apprentice' is that it isn't very hard... 'Celebrity Apprentice' is easy like junior high is easy. All the arithmetic, the creative writing and the history are super simple, but like junior high, you do that easy work surrounded by people who are full-tilt, hormone-raging bug nutty.

These days I keep a journal, so I'm constantly sketching down my thoughts, or lines that come to me...ideas for songs. And then when I have a moment to myself, I'll sit down with my guitar and open my journal, and start kind of massaging things together, and see if a song takes shape. Or sometimes, I'll just be hanging out with my guitar and come up with a chord progression or a lick, and that'll sort of sit around for a while waiting to marry itself to some words. So it's sort of haphazard and it's like...junk culture. I go around finding shiny objects and I glue them together laughs.

The secret of successful writing lies in striking the right keys on the typewriter.

The secret of writing comedy is to know where it's all going, then get ahead of it.

The secret to being a writer is that you have to write. It's not enough to think about writing or to study literature or plan a future life as an author. You really have to lock yourself away, alone, and get to work.

The secret to writing is just to write. Write every day. Never stop writing. Write on every surface you see; write on people on the street. When the cops come to arrest you, write on the cops. Write on the police car. Write on the judge. I'm in jail forever now, and the prison cell walls are completely covered with my writing, and I keep writing on the writing I wrote. That's my method.

The secret of success is sincerity. Once you can fake that, you've got it made.

The secret to writing a screenplay is keeping your ass in the chair.

These days, my subjects are murder and mayhem and other terrible things that happen to people - things that are even worse than cutting yourself shaving. And these are not the sorts of things you feel the need to experience before you write about them.

These days, I find I'm applying a little more patience to my process. If I look back on my work, I can see those songs I bailed on could have been better, that had those great two verses and then I kind of coasted from there. These days, if a song is giving me trouble, I put it aside and pick it up later, and keep doing that, for a year if I have to, until it takes shape.

The seeming significance of nature's appearances, their unchanging strangeness to the senses, and the thrilling response which they awaken in the mind of man . . . If we could only write near enough to the facts, and yet with no pedestrian calm, but ardently, we might transfer the glamour of reality direct upon our pages.

These days, people like me who are in the arts are perceived as celebrity writers. That really makes me angry because I expend a great deal of effort and spend an enormous amount of time on my books. And I've been writing now for 35 years.