Best 30386 quotes in «writing quotes» category

How little perhaps can words convey except in the hands of a genius.

How many nights does it take to stop these wounds from bleeding?

How many great gems were lost to thought and not put down to pen. You can but think of just a few and then they're lost again.

How many people make a career out of writing anyway?' Cath snapped. She felt like everything inside her was snapping. Her nerves. Her temper. Her esophagus. 'I'll write because I love it, the way other people knit or . . . or scrapbook. And I'll find some other way to make money.

How much of twentieth-century poetry, how much of my own poetry, is the cry of the damned?

How many pages will it take to tell your story?

How many things can I do without?

how these words, wait to die in the arms of all the poetry.. yet to be written.

How to accept the diversity and mutilation of the world, while retaining the minds power for analogy and unity, so this changing world shall not become meaningless?

How the excitement comes upon me to tell it all! In the quest of writing, the heart can speed up with anticipation--as it does, indeed, during the chase itself of whales. I can swear it, having done both, and I will tell YOU though other writers may not. My heart is beating fast; I am in pursuit; I want my victory--that you should see and hear and above all feel the reality behind these words. For they are but a mask. Not the mask that conceals, not a mask that I would have you strike through as mere appearance, or, worse, deceitful appearance. Words need not be that kind of mask, but a mask such as the ancient Greek actors wore, a mask that expresses rather than conceals the inner drama. (But do you know me? Una? You have shipped long with me in the boat that is this book. Let me assure you and tell you that I know you, even something of your pain and joy, for you are much like me. The contract of writing and reading requires that we know each other. Did you know that I try on your mask from time to time? I become a reader, too, reading over what I have just written. If I am your shipbuilder and captain, from time to time I am also your comrade. Feel me now, standing beside you, just behind your shoulder?)

HOW TO DRIVE A WRITER CRAZY “1. When he starts to outline a story, immediately give him several stories just like it to read and tell him three other plots. This makes his own story and his feeling for it vanish in a cloud of disrelated facts. "2. When he outlines a character, read excerpts from stories about such characters, saying that this will clarify the writer's ideas. As this causes him to lose touch with the identity he felt in his character by robbing him of individuality, he is certain to back away from ever touching such a character. "3. Whenever the writer proposes a story, always mention that his rate, being higher than other rates of writers in the book, puts up a bar to his stories. "4. When a rumor has stated that a writer is a fast producer, invariably confront him with the fact with great disapproval, as it is, of course, unnatural for one human being to think faster than another. "5. Always correlate production and rate, saying that it is necessary for the writer to do better stories than the average for him to get any consideration whatever. "6. It is a good thing to mention any error in a story bought, especially when that error is to be editorially corrected, as this makes the writer feel that he is being criticized behind his back and he wonders just how many other things are wrong. "7. Never fail to warn a writer not to be mechanical, as this automatically suggests to him that his stories are mechanical and, as he considers this a crime, wonders how much of his technique shows through and instantly goes to much trouble to bury mechanics very deep—which will result in laying the mechanics bare to the eye. "8. Never fail to mention and then discuss budget problems with a writer, as he is very interested. "9. By showing his vast knowledge of a field, an editor can almost always frighten a writer into mental paralysis, especially on subjects where nothing is known anyway. "10. Always tell a writer plot tricks, as they are not his business.

How would you document the history of today?

How to Write a Poem Catch the air around the butterfly.

how well you understood that it would be easier to me to write to you than to speak!

How to preside over your own internal disorder? Finding the "I" that can represent the pack of you is the first challenge of the memoirist.

How....will I ever truly depict you? You’re perfect, my writing isn’t.

How you feel after reading something indicates not what you’ve read but where you are at.

How you feel after watching something indicates not what you watched but where you are at.

Huh. Well you and I just disagree. Maybe the world just feels differently to us. This is all going back to something that isn't really clear: that avant-garde stuff is hard to read. I'm not defending it, I'm saying that stuff - this is gonna get very abstract - but there's a certain set of magical stuff that fiction can do for us. There's maybe thirteen things, of which who even knows which ones we can talk about. But one of them has to do with the sense of, the sense of capturing, capturing what the world feels like to us, in the sort of way that I think that a reader can tell "Another sensibility like mine exists." Something else feels this way to someone else. So that the reader feels less lonely.

Hugh Laurie (playing Mr. Palmer) felt the line 'Don't palm all your abuses [of language upon me]' was possibly too rude. 'It's in the book,' I said. He didn't hit me.

Human beings across every culture I know about require such stories, stories with cool winds and wood smoke. They speak to something deep within us, the capacity to conceptualize, objectify and find patterns, thereby to create the flow of events and perceptions that find perfect expression in fiction. We are built this way, we create stories by reflex, unstoppably. But this elegant system really works best when the elements of the emerging story, whether is is being written or being read, are taken as literal fact. Almost always, to respond to the particulars of the fantastic as if they were metaphorical or allegorical is to drain them of vitality.

Humankind must no longer permit the lie to be taught to its children.

Humans seem to have a really hard time learning from their own mistakes. History is often forgotten, warnings from the past not heeded. But we do enjoy a good story or two. So how about learning from the future? Jew-ish Sci-Fi is a prophetic genre. Lot’s of people write in it. Lot’s of people enjoy reading it…even the ones who focus on werebears…

Humor is so subjective, not everyone is going to get what you are peddling. Others will be offended when what you meant no offense whatsoever. Those are the stakes. You have to be able to stand up for yourself and what you’ve written. Comedy pushes limits, makes people uncomfortable, and is a natural reaction to the environment. Otherwise, as I said, it is forced. Let it flow and give your characters permission to cross a line or two, but only if you can take the heat afterward.

Hunger gives flavour to the food.

Humility is an essential quality in writers who want to write well.

Humor has always been the redemptive angel in the Conroys’s sad history. With this family, I shall never grow hungry from lack of material.

Hurry up, because I'm not sure how much more of your sarcasm I can take before I write a book about it.

I adore the absurd and the abnormal; therefore, that's what I write about. That's what I need to write about. The mainstream has never turned me on.

I already knew the next story that I was going to rewrite from the beginning. Mine.

I always like the story behind the story more than the story itself.

I already won.

I always feel like I should have really interesting answers to questions about my writing process -and one day I’ll make something up involving goat bones and virgin’s blood – but the truth is, I get up, make coffee, I sit down, and I start writing.

I always shot scorpions with the .22 pistol.

I always strive to create a setting that leaves the readers' imagination room to roam. That way, every reader sees the story through their own eyes.

I always run away from the simplest phrases because they never contain all of the truth. To me the truth is something which cannot be told in a few words, and those who simplify the universe only reduce the expansion of its meaning.

I also able to graciously survive the PhD from the grace, which comes from prayer, bible reading, extensive story reading, fasting, fellowship, listen to music, daily dance and sacred writing.

I also know that not everyone will like what I do, and that there are many people who do love my work, and so I write for them, and for my own pleasure, and try not to brood too much over those who have different tastes. And I have written enough books now that I know the self-doubt and the anxiety are part of the creative process, and drive me to keep trying to do better, and keep me from becoming too cocksure about my writing, which is a form of creative death.

I am a bit old fashion but I believe in prayer, I believe prayer can move mountain. Prayer might not be our responsibility but it is a good starting place. It can give us heaven's prospectives on human problems. I know we need to do a bit more than pray but that doesn't mean we don't need to pray.

I am afraid that I may die tomorrow without knowing myself. My life experiences have taught me that a frightful chasm separates me from the others. The same experiences also have taught me when to remain silent and keep my thoughts to myself. Nevertheless, I have decided that I should write. That I should introduce myself to my shadow―the stooped shadow on the wall that voraciously swallows all that I put down. It is for him that I am making this experiment to see if we can know each other better. Since the time when I severed my ties with others, I want to know myself better. Absurd thoughts! Fine. Yet these thoughts torture me more than any reality. Are not these people who resemble me, who seemingly share my needs, whims and desires gathered here to deceive me? Are they not shadows brought into existence to mock and beguile me? Are not all my feelings, observations, and calculations imaginary and quite different from reality? I write only for the benefit of my shadow on the wall. I need to introduce myself to it. I thought in this base world, full of poverty and misery, for the first time in my life, a ray of sunshine shone on my life. But alas, instead of a sunbeam it was a transient beam, a shooting star that appeared to me in the likeness of a woman or an angel. In the light of that moment that lasted about a second, I witnessed all my life's misfortunes, and discovered their magnitude and grandeur. Then that beam of light disappeared into the dark abyss for which it was destined. No. I could not keep that transient beam for myself.

I am, as it were, the created creating—a paradox, for all its rhetorical trappings, at the beating heart of our shared human journey, and one I invite you to struggle with just as I have while, day in and day out, word by word and line by line, constructing a fictitious autobiography for myself in these pages.

I am a lifelong lover of form–content interplay, and this book is no exception. As with several of my previous books, I have had the chance to typeset it down to the finest level of detail, and my quest for visual elegance on each page has had countless repercussions on how I phrase my ideas. To some this may sound like the tail wagging the dog, but I think that attention to form improves anyone’s writing. I hope that reading this book not only is stimulating intellectually but also is a pleasant visual experience.

I am amazed upon the many battle that we engage in, be it money, control or matters of the heart, only very few of us knows how to fight in the right way or understand who we are really fighting against. To win any battle you' ve got to have the right strategy and resources because victories don't come by accident.

I am an Author a person who plays with words so they can dance in the minds of others

I am an architect of words; there is no limit to the number of 'stories' I can create!

I am a passionate, not an intellectual writer, which means my characters must plunge ahead of me to live the story

I am a storyteller, spiraling fantasy and reality into mystical tales. That eerie space between fact and fiction, where only the brightest light can scare the shadows—you will find me there.

I am, apparently, of that rare breed that likes to write. The demands of a chapter pull me from bed in the morning, and regardless of how well I think I know the day's road ahead, there are always surprises. But the pleasures that come from writing about the American past, of discovering what I hope no one has seen before, are of course balanced by rough, often tedious stretches. Writing does not come easily for me; I work slowly, much like a sculptor with a chisel, only words rather than stone or wood are my medium. But when at the end of the day I have a page or two that seem right, I pull away from the desk certain that all is right in the world, regardless of what the evening news might tell me later.

I am a storyteller and experience the bliss of writing.

I am a writer because I write, an author because I create, a poet because the words are in my soul.