Best 30386 quotes in «writing quotes» category

There are a lot of male directors who are directing female-driven pieces. I think that its good to get the girl's point of view and they should write stuff that they know.

There are a lot of movies out there that I would hate to be paid to do, some real demeaning, real woman-denigrating stuff. It is up to women to change their roles. They are going to have to write the stuff and do it. And they will.

There are a lot of smart people being really thoughtful and writing really interesting things, but that isn't what I want to do. It's never felt like what I've been called to do. And I have to risk sounding really arrogant when I say that because I've gone to Ivy League schools and been privileged in all these ways in the world of ideas, but I'm not as smart as you think. I'm not really depending on what I learned in college to write my books. Those were just parts of my life experience.

There are always new things to experience, internalize then write about. This process is ongoing with me. It never stops. The opportunity to reach new audiences with all of the music that we have made is thrilling.

There are a lot of us, some published, some not, who think the literary life is the loveliest one possible, this life of reading and writing and corresponding. We think this life is nearly ideal.

There are certain families whose members should all live in different towns - different states, if possible - and write each other letters once a year.

there are - as every one knows - two kinds of writing: one coming out of your vitals and the other from the top of your head. The first is the only sort from which any true private pleasure can be gained, for it is a way of getting something out of life which seemed to be there in childhood, when childhood is quite over.

There are a number of World War II historians I admire: Cornelius Ryan, Mark Stoler, Antony Beevor, to name a few. As for generals, there are those I admire as combat leaders and others I admire because they're great fun to write about.

There are as many different ways to write a novel as there are varieties of human consciousness, so I am totally delighted if people want to use words that come from genres to describe how this book functions because those words are accurate.

There are books that a writer undertakes because she wants to go on a journey, and there are journeys a writer undertakes because she wants to write a book.

There are certain kinds of people who write science fiction. I think a lot of us married late. A lot of us are mama's boys. I lived at home until I was 27. But most of the writers I know in any field, especially science fiction, grew up late. They're so interested in doing what they do and in their science, they don't think about other things.

There are certainly people for whom politics is not a category that helps you understand human existence. In fact, it's kind of a detour into superficiality, and although I disagree with those people, I don't think it's the case that everyone who writes has to write politically or has to write in opposition to the really horrendous things that are going on on a political level in the world today. There are some writers who simply aren't any good at that and really should stay away from it.

There are certainly a lot of people - and I won't name names - who are getting by simply on expression. And I guess that's valuable in some sense. But songs are not better just because they're emotionally honest. To write a song well, you have to put some work into it and grind it out.

There are certain things that I will do viscerally to affect people emotionally, with speed changes and sound, and various other things. Sure there are links; the same kind of sensibilities went into it and I worked on writing that script as well so there was an emphasis on a minimalisation of dialogue as far as possible, to focus on the visual and to put it in another language, of course.

There are companies like Facebook that wield tremendous power over how Americans understand the world. Do they have a social responsibility now? That's the question we're only beginning to ask. Literature still has this power to do things that other forms of media don't have. The process of reading and writing and having arguments about ideas is valuable. I'm afraid it's something we're losing.

There are certain writers I can't read when I'm trying to write because their voices are so distinct. Cormac McCarthy, he's the most different writer from anything I've ever written, but there's something about those really spare sentences that is just tough - it would be too much of an influence. Grace Paley is my favorite writer. Her stuff is so voice-driven, when I read her a lot I want to make my writing more voice-y and dialogue-heavy. I love a lot of stuff in translation.

There are certain things that make me relax, like writing my journal. That's the only time that I'm relaxing. It's the only time I really get to examine myself.

There are cinéphiles and cinéphages. Truffaut is a cinéphile. A cinéphage - a film nerd - sits in the front row and writes down the credits. But if you ask him whether it's good, he'll say something sharp. But that's not the point of movies: to love cinema is to love life, to really look at this window on the universe. It's incompatible with note-taking!

There are dance artists, painting artists and writing artists. Authors are writing artists. You can practice art in whatever medium you choose, and words are mine.

There are days when I intentionally don't write. For instance, I never write when I'm traveling, because travel is a situation where I can learn more by looking and listening than by working.

There are definitely parts of me in most of the protagonists I write, but I find a bit of distance can be useful, so I often find myself better able to write from a point of view that isn't exactly my own.

There are different reasons why people write: for themselves, or for other writers, or to get prizes, or keeping an audience in mind. In my case, it felt really nice that a certain type of readership read the book and liked it, even though my readership is not as wide as certain popular books.

There are dozens of great American writers who write about the family.

There are dozens of writings outside of the Bible that verify the historical accuracy of many of the names of people, places, and events mentioned in the Bible. In fact, external sources verify that at least eighty persons mentioned in the Bible were actual historical figures. Fifty people from the Old Testament, and thirty people from the New Testament.

There are favorable hours for reading a book, as for writing it.

There are few cases in which mere popularity should be considered a proper test of merit; but the case of song-writing is, I think, one of the few.

There are events which are so great that if a writer has participated in them his obligation is to write truly rather than assume the presumption of altering them with invention.

There are, first of all, two kinds of authors: those who write for the subject's sake, and those who write for writing's sake. The first kind have had thoughts or experiences which seem to them worth communicating, while the second kind need money and consequently write for money.

There are enough women to do the childbearing and the childrearing. I know of none who can write my books.

There are fewer media writers in traditional settings. That is a beat that many legacy brands cannot afford. On the other hand technology writers are writing about media in ways they didn't before. As a consequence of the shift, there is less interest in many ways in the activities at some media. If you look at coverage of media as whole, the decision-making at the three broadcast networks and the cable channels, for instance, is much less of a focus than it once was. The guts of what goes on at Fox or CNN or MSNBC probably has less impact than it once did. It certainly gets less attention.

There are going to be moments of deep, deep doubts, and you have to have faith that your initial idea was good and just muddle through.

There are hardly half a dozen writers in England today who have not sold out to the enemy. Even when their good work has been a success, Mammon grips them and whispers: More money for more work.

There are, indeed, few kinds of composition from which an author, however learned or ingenious, can hope a long continuance of fame.

There are just long gaps where I can't find a point of insertion, I can't find a good opening line, I can't find a mood that I want to write into. But once I do, once a line falls out of the air, or I get a little inkling of a subject and I recognize that, it's like the sense that a game has started.

There are lots of people who give their all and have that inner glow on. It's a shame that majority of them are under seven years old.

There are lots of random blog posters on places like Gamespot or NeoGAF or whatever who show a clearer understanding of Braid than people who are all, "I'm all about games, and narrative and meaning, and I write a blog just to tell you about how I analyze all these things." Those people have the same hit rate as your general forum poster. So that's given me a cynical response to that whole community, which is just that, "Guys, are you sure you're qualified to do this?" And that sounds asshole-ish, and mean and snarky, but that's just how I'm feeling right now.

There are Harvard grads, free thinkers, feminists, abolitionists, well-to-do people who want to go write poetry and live on a farm and cook and laugh and have a good time. As they themselves described it, it was an "inward facing" community. They were focusing on making a better existence for themselves, which I think is also the driving force of 20th century communalism in the US, the thought being that the world is corrupt, and we're going to build this little garden of innocence.

There are innumerable writing problems in an extended work. One book took a little more than six years. You, the writer, change in six years. The life around you changes. Your family changes. They grow up. They move away. The world is changing. You're also learning more about the subject. By the time you're writing the last chapters of the book, you know much more than you did when you started at the beginning.

There are infinite shades of grey. Writing often appears so black and white.

There are instances where lines in my work are borrowed or stolen from sources, mainly from books, or they become my own versions. A lot of the writing is my own, too. But if someone were to take each drawing and trace it back to its source, most of them could be traced back to a book or a text.

There are lots of guys out there who write a better prose line than I do and who have a better understanding of what people are really like and what humanity is supposed to mean - hell, I know that.

there are lots of ways of answering a letter - and writing doesn't happen to be mine.

There are many aspects of time we just do not understand. That’s the thing about writing a popular book: You realize the things you understand because for those you can give a really simple explanation. But some things about time I just don’t know how to give simple explanations for, even though I can tell you mathematically what’s going on.

There are lots of actors, and you need a way to stand out. Writing comedy sketches was a way of doing that.

There are many collaborations I'd like to explore. One is to co-write a rap concerto with Eminem.

There are jobs that can be done equally well by men or by women and that finally you can't see a difference. But from the moment that you involve yourself fully in writing a novel, for example, or an essay, then you are involved as a woman, in the same way that you can't deny your nationality - you are French, you are a man, you are a woman... all this passes into the writing.

There are many critics whose work I greatly admire. Even though I diverge from T.J. Reed in several important ways, I've learned greatly from his writings on Mann.

There are many other writers whose work I admire tremendously, but none whose work struck me at just the right young age. Jack Vance taught me that speculative fiction, science fiction, could be wonderfully and liberatingly stylistic. It didn't have to be pulp stuff. He really changed my writing and my view of science fiction, so if nothing else, my little homage to him in the novelette I wrote for that anthology is my thank-you to him. He helped me see that any genre can have excellent writing in it.

There are many possible interpretations of what it means to create dangerously, and Albert Camus, like the poet Osip Mandelstam, suggests that it is creating as a revolt against silence, creating when both the creation and the reception, the writing and the reading, are dangerous undertakings, disobedience to a directive.

There are many important books on oral history. My book was the launch title in the Understanding Qualitative Research series with Oxford University Press. I think what makes my book and all of the series books unique is the emphasis on writing instruction for researchers who want to use the method being described.