Best 30386 quotes in «writing quotes» category

Early retirement, Dalton. Teach yourself to type with your toes and you can start writing your memoirs.

Early in 1967 Highsmith's agent told her why her books did not sell in paperback in America. It was, said Patricia Schartle Myrer, because they were 'too subtle', combined with the fact that none of her characters were likeable. 'Perhaps it is because I don't like anyone,' Highsmith replied. 'My last books may be about animals'.

Eating was still a sore point with Smriti.She failed to understand,when interesting options like mango juice or chocolates were available,why was she forced by her stupid mother to eat boring regular meals? After much contemplation,Nikhil came up with a suggestion'Don't give her food till she herself asks for it'. His idea'starve-to know-the-worth-of -food'made sense to Abhilasha,though it took her a great deal of resolve before she could actually try it out. So on a sunday,the'lady with an iron will'took over from'the soft and kind hearted mother'.she did not give her anything to eat and waited for the golden moment,expecting a hungry Smriti to beg for food. But the much awaited moment never came.Smriti was not at all bothered about her meal and kept playing happily. The day turned into evening and still there was no trace of hunger in her. "Aren't you feeling hungry?' now a worried mother had no option but to eat the humble pie and ask the daughter. "No Maa. My friend Pinky had brought wafers and chocolates. Those were so yummy that I ate them all......" And that was the end of her'starve-to -know-the-worth-of-food-mission.

Edinburgh is alive with words.

Edit your manuscript until your fingers bleed and you have memorized every last word. Then, when you are certain you are on the verge of insanity...edit one more time!

Editing is the essence of writing!

Écrire, c'est faire appel au lecteur pour qu'il fasse passer à l'existence objective le dévoilement que j'ai entrepris par le moyen du langage.

Education isn’t something your professors make for you. It’s something you make for yourself.

Education stimulates self-study.

Education makes your maths better, not necessarily your manners.

Elliott was disarmingly bright, according to everyone who knew him, an avid reader of Dostoevsky, Kafka, Beckett, Stendhal, Freud, the Buddha, all of whom destabilized notions of identity. I think he knew how little we know about who we are. The idea comes through in lyrics. “I don’t know who I am,” he says simply; at times he wishes he were no one. He’s a stickman shooting blanks at emptiness, living with “one dimension dead.” He’s an invisible man with a see-through mind. He’s a junkyard full of false starts. He’s a ghost-writer, feeling hollow.

Ellis smiled at her concern and kissed her cheek once more. “I promise. I’ll come home if I need help.” He stepped back and gave them a bow, showing his respect. With their permission, he left the counsel room and headed straight to his room. He packed supplies for the journey. His mother had warned him that no magic worked inside of The Forbidden Woods or even in the outskirts of it. He would have to walk there on foot and hope that no one loyal to Walter caught up with him on his way.

[EM] Forster was the only living writer whom he would have described as his master. In other people’s books he found examples of style which he wanted to imitate and learn from. In Forster he found a key to the whole art of writing. The Zen masters of archery—of whom, in those days, Christopher had never heard—start by teaching you the mental attitude with which you must pick up the bow. A Forster novel taught Christopher the mental attitude with which he must pick up the pen.

Embrace what works and discard what doesn't.

Emily wondered whether Artie would be so carefree if he knew The Book Club was performing grand theft imagination.

Emma, you and your poetry, me and my acting--what are we trying to do? We can't top this city. We poor would-be artists can't compete with or improve on the rich density of human experience on any random, average, slow summer night in New York--who are we trying to kid? In the overheard conversation in the elevator, in the five minutes of talk the panhandler gives you before hitting you for the handout, in the brief give-and-take when you are going out and the cleaning lady is coming in--there are the real stories, incredible, heartbreaking and ridiculous, there are the command performances, the Great American Novels but forever unwritten, untoppable, and so beautifully unaware.

... endowing the imperfect and the preterite with all the sweetness which there is in generosity, all the melancholy which there is in love; guided the sentence that was drawing to an end towards that which was waiting to begin, now hastening, now slackening the pace of the syllables so as to bring them, despite their difference in quantity, into a uniform rhythm, and breathed into this quite ordinary prose a kind of life, continuous and full of feeling.

...ending a book with a sequel in such a way that the reader still has faith in the characters and in the writer. That's finesse.

Ending a series is a difficult one .......where should a story that you have followed for so long end? When do you step away from the characters and let the readers decide their fate from there? When they can stand on their own is my only answer for that.

Ending a novel is almost like putting a child to sleep – it can't be done abruptly." [Colm Tóibín, Novelist – Portrait of the Artist, The Guardian, 19 February 2013]

English is like a poetic extension of myself. It holds my creativity and imagination in blissful and inspiring captivity. Though I consider myself not a prisoner, but rather a valued guest of honor.

Energy will go into what you love, and what you love will grow. Go for a walk and watch it bloom.

Enhance life span with writing

English teachers, workshops, and myths try to make writers slow down. We are the ONLY ART on the planet that tells young artists to not practice and do less to get better. Head-shaking in its stupidity. And new writers buy into that.

Enmerson's interest is in the workshop phase, the birthing stage of art, not the museum moment, the embalming phase. Poetry mimics Creation and is therefore sacred. More precisely, just as God may indeed be a verb (as Mary Daly insists), poetry is the act of creating. The process of poetry also mimics the process of nature. 'This expression or naming is not art, but a second nature, grown out of the first, as a leaf out of a tree. What we call nature is a certain self-regulated motion or change.' Another aspect of nature is genius, which, as Emerson observes, 'is the activity which repairs the decays of things.

Entire universes flourish in my mind. Sometimes I get lost in there.

Envy won't make you a better poet.

Epiphanies awaken the soul.

Err on the side of awesome.

Escribir es un gimnasio para el alma.

Even a best fountain-pen cannot make a writer be a fount of eloquence, but fountains teach to sob with ecstasy.

Even as I write these words, which should be lucid and filled with glowing colour, I feel the very darkness of my own personality invading my pen. Only perhaps in the ink of this darkness can this writing properly be written? It is not really possible to write like an angel, though some of our near-gods by heaven-inspired trickery sometimes seem to do it.

Even amid our problems we can find words that will help us explore, be mindful, grow, and create a better way of living.

Even at that time the hope of leaving behind messages in bottles on the flood of barbarism bursting on Europe was an amiable illusion: the desperate letters stuck in the mud of the spirit of rejuvenesence and were worked up by a band of Noble Human-Beings and other riff-raff into highly artistic but inexpensive wall-adornments. Only since then has progress in communications really got into its stride. Who, in the end, is to take it amiss if even the freest of free spirits no longer write for an imaginary posterity, more trusting, if possible, than even their contemporaries, but only for the dead God?

Even if you're in the thick of revising another work, write something new. Something small. It's important to keep telling yourself stories.

Even in the hottest fire there's a bit of water. my The Opposite Of Magic.

Even if readers claim that they 'take it all with a grain of salt', they do not really. They yearn to believe, and they believe, because believing is easier than disbelieving, and because anything which is written down is likely to be 'true in a way'.

Even if readers claim that they 'take it all with a grain of salt', they do not really. They yearn to believe, and they believe, because believing is easier than disbelieving, and because anything which is written down is likely to be 'true in a way'. I trust this passing reflection will not lead anyone to doubt the truth of any part of this story! When I come to describe my life with Clement Makin credulity will be strained but will I hope not fail!

Even if you're writing serious stuff keep your tongue firmly planted in your cheek.

Even now, I am anxious about the naked thoughts that I have shared. The observations are blisteringly honest and of course they have to be.

Even the longest book is read and was written one word at a time.

Even if there were no more books published ever, there are still more books in existence today than anyone can read. And most of them suck. Good luck trying to find a good one. It's like finding a needle in a hay stack.

Even so have I given the womb of the earth to those that be sown in it in their times.

Eventually I’ll stop writing about you and it’ll be bittersweet. Not because I’m not in love with you, but because I’ll just love you.

Even though I'm an ordinary writer, I too, have trouble when it come to writing along the way. But at least I manage to self-publish my book with no errors (hopefully). Just check out Agatha Christie, an author who also has a learning disability. She managed to be succesful. And I hope that I would be successful as her and Abishek Bachan.

Evere since I was first to read, then started reading to myself, there has never been a line read that I didn't hear. As my eyes followed the sentence, a voice was saying it silently to me. It wasn't my mother's voice, or the voice of any person I can identify, certainly not my own. It is human, but inward, and it is inwardly that I listen to it. It is to me the voice of the poem or the story itself. The cadence, whatever it is that asks you to believe, the feeling that resides in the printed word, reaches me through the reader-voice. I have supposed, but never found out, that this is the case with all readers - to read as listeners - and with all writers, to write as listeners. It may be part of the desire to write. The sound of what falls on the page begins the process of testing it for truth, for me. Whether I am right to trust so far I don't know. By now I don;t know whether I could do either one, reading or writing, without the other.

Every agent has a Sig Weiss—as a rosy dream. You sit there day after day paddling through oceans of slush, hoping one day to run across a manuscript that means something—sincerity, integrity, high word rates—things like that. You try to understand what editors want in spite of what they say they want, and then you try to tell it to writers who never listen unless they’re talking. You lend them money and psychoanalyze them and agree with them when they lie to themselves. When they write stories that don’t make it, it’s your fault. When they write stories that do make it, they did it by themselves. And when they hit the big time, they get themselves another agent. In the meantime, nobody likes you.

Every article and review and book that I have ever published has constituted an appeal to the person or persons to whom I should have talked before I dared to write it. I never launch any little essay without the hope—and the fear, because the encounter may also be embarrassing—that I shall draw a letter that begins, 'Dear Mr. Hitchens, it seems that you are unaware that…' It is in this sense that authorship is collaborative with 'the reader.' And there's no help for it: you only find out what you ought to have known by pretending to know at least some of it already. It doesn't matter how obscure or arcane or esoteric your place of publication may be: some sweet law ensures that the person who should be scrutinizing your work eventually does do so.

Everybody dies. Some die still waiting for inspiration.

Every book has its ancestors