Best 30386 quotes in «writing quotes» category

The heartbreak that it might not happen wasn't something that I wanted to face with any more weight. Then, when I got the call to go ahead I never thought for a second as I was approaching it who I would get - that would come later. Again, I think the idea was that I now had the rights to make the movie and I can start writing it but if I have to wait another 10 years before I find an actor that's right for it, I'd be very happy to do that.

The High Divide, a novel about a family in peril, is haunting and tense but leavened by considerable warmth and humanity. Lin Enger writes with durable grace about a man’s quest for redemption and the human capacity for forgiveness.

The higher a monkey climbs, the more you see of its behind.

The higher processes are all processes of simplification. The novelist must learn to write, and then he must unlearn it; just as the modern painter learns to draw, and then learns when utterly to disregard his accomplishment, when to subordinate it to a higher and truer effect.

The historian ought to be an educated person, writing for other educated people about something which they don't know about, but wish to know about in a way that they can understand.

The historian should be fearless and incorruptible; a man of independence, loving frankness and truth; one who, as the poets says, calls a fig a fig and a spade a spade. He should yield to neither hatred nor affection, not should be unsparing and unpitying. He should be neither shy nor deprecating, but an impartial judge, giving each side all it deserves but no more. He should know in his writing no country and no city; he should bow to no authority and acknowledge no king. He should never consider what this or that man will think, but should state the facts as they really occurred.

The historical sense compels a man to write not merely with his own generation in his bones, but with a feeling that the whole of literature from Homer and within it the whole of the literature of his own country has a simultaneous existence and composes a simultaneous order.

The high point was that the people are really nice - despite the crazy politics - and I loved being there. The hardest part was knowing some of the things I was probably going to write about Texas would make those nice people very unhappy.

The history of my life is the history of the struggle between an overwhelming urge to write and a combination of circumstances bent on keeping me from it.

The hope in literature is that we are allowed to be imperfect, to write of our imperfection, without being overly critiqued for being unlikeable.

The holy spirit means the invisible power of Jehovah, holy because he is holy. This power of Jehovah operated upon the minds of honest men who loved and who were devoted to righteousness, directing them in the writing of the Bible.

The Holocaust is a central event in many people's lives, but it also has become a metaphor for our century. There cannot be an end to speaking and writing about it. Besides, in Israel, everyone carries a biography deep inside him.

The Hollywood stuff in the book tended to come later. I think it was because I was worried about leading with that stuff. I wanted to try to make sure that the other stories in the book were as interesting. I wanted to spend more time on them and craft them. The thing is, with writing, it's form or content.

The history of the development of contemporary writing in Vancouver from 1946 to 1960 is pretty largely a one-man show, and that man was me.

The honest and serious student of American history will recall that our Founding Fathers managed to write both the Declaration of Independence and the Constitution without using the term 'democracy' even once. No part of any of the existing state Constitutions contains any reference to the word. [The men] who were most influential in the institution and formulation of our government refer to 'democracy' only to distinguish it sharply from the republican form of our American Constitutional system.

The house became full of love. Aureliano expressed it in poetry that had no beginning and no end. He would write it on the harsh pieces of parchment that Melquiades gave him, on the bathroom walls, on the skin of his arms, and in all of it Remedios would appear transfigured: Remedios in the soporific air of two in the afternoon, Remedios in the soft breath of the roses, Remedios in the water-clock secrets of the moths, Remedios in the steaming morning bread, Remedios everywhere and Remedios forever.

The hope that they have legs. That's the biggest fear you always have creating new people. You love them, but then they kind of dissipate. Sometimes you don't get to write them as much as you'd like, like me and Harper Row.

The "How to Slowly Kill Yourself and Others" essay was so hard to write because of the memories, the sensory stuff, but also because it didn't follow the form of any essay that I've ever read. And the truth that I was exploring necessitated that obliteration of traditional form, I think.

The human bird shall take his first flight, filling the world with amazement, all writings with his fame, and bringing eternal glory to the nest whence he sprang.

The horrible truth is that I am lazy and I am going to write and do bits that just hand themselves to me.

The human mind is a wonderful thing, it starts working from before you're born and doesn't stop till you sit down to write a song.

The human race is faced with a cruel choice: work or daytime twittering - anon Twitter has raised writing to a new low.

The human race may be compared to a writer. At the outset a writer has often only a vague general notion of the plan of his work, and of the thought he intends to elaborate. As he proceeds, penetrating his material, laboring to express himself fitly, he lays a firmer grasp on his thought; he finds himself. So the human race is writing its story, finding itself, discovering its own underlying purpose, revising, recasting a tale pathetic often, yet none the less sublime.

The ideal time for writing a [television] script is four days, though sometimes it has to be two or three days depending on the deadline. If it's two days, sometimes there are things I see that don't work as well. If I have two weeks, the scripts get kind of flabby and lack the adrenaline that a sense of deadline fills you with.

The ideal for me is to mix it up. When I have a writing workshop, I like to have people that are anthropologists and people who are poking around in other fields, I like to have them all in the same workshop, and not worry about genre.

The idea I pursue is the one that keeps coming back to me. The characters I think about as I'm falling asleep at night or when I'm driving to the grocery store are the one's I wind up writing about.

The ideal reader's the same, and I suppose this person has never had a face or a gender or an age. It's just some kind of unknown other who will be sympathetic and read each word carefully and understand what I'm writing about. I suppose every writer feels this.

The idea for each of the stories in this book came in a moment of belief and was written in a burst of faith, happiness, and optimism. Those positive feelings have their dark analogues, however, and the fear of failure is a long way from the worst of them. The worst - for me, at least - is the gnawing speculation that I may have already said everything that I have to say, and am now only listening to the steady quacking of my own voice because the silence when it stops is just too spooky.

The idea of going to school to be an art critic is a very crazy idea. I educated myself in public, which is a very painful way to learn - by writing and then discovering that I don't know what the f**k I'm talking about. But you remember the lessons vividly.

The idea of political content is irrelevant. Content is irrelevant. I always tell my students, "Never forget you're writing words! You know, word one, word two, word three, word four. The words have to be organized. Nothing else does.

The idea of the writer who writes nineteen novels, with various ups and downs and levels of experimentation, isn't around so much now. There's a focus, I think, on fewer books, with more pressure on each book to succeed. With that there comes, I think, a certain pressure towards shapeliness in fiction. Towards neatness. And I think writers feel that, and it can effect how they write.

The ideas for stories that thronged my brain would not let me rest till I had got rid of them by writing them.

The idea of childhood as a social invention, in retrospect, is hardly credible. In the Bible, in writings of the Greeks and Romans, and in the works of the first great educator of the modern era, Comenius, children were recognized as being both different from adults and different from one another with respect to their stages of development. To be sure, the scientific study of children and the increased length of life in modern times have enhanced our understanding of age differences, but they have always been acknowledged.

The idea of directing was something that I always had in the back of my mind, and writing as well. I began to write screenplays when I was in my 20's.

The idea of Herman Melville in a writing class is always distressing to me.

The idea of songwriting is a transformative thing, and what I do with songwriting is take situations that are quite ordinary and transform them in some way. Apart from things like the murder ballads, the songs I write, at their core, are quite ordinary human concerns, but the process of writing about them transforms them into something else.

The idea of taking a song, envisioning the overall sound in my head and then bringing the arrangement to life in the studio...well, that gives me satisfaction like nothing else.

The idea of writing songs because you're depressed and you need to communicate it somehow, that isn't really true for me.

The ideas for my books come about in two ways. There can be an intellectual idea that seems to be the reason for writing the book. [...] The other motive is unconscious. There is something deeply psychological and emotional that draws me to the material in the first place.

The idea that you waited for that particular issue to come out, but then you planned your TV viewing for the coming season, it was a completely different world. And I grew up in Fort Lauderdale, so there was a TV critic writing for the Miami Herald, Jack Anderson, that was very influential. Just to read, every morning, somebody who cared about TV as much as I did - they were an adult, and they were clearly being paid for it. That was an "a ha!" moment for me before I was even 10.

The idea that writing about characters of another race requires a passage through a critical gauntlet, which involves apology and self-examination of an almost punitive nature, as though the act of writing race was somehow morally suspect, is a dangerous one. This approach appears culturally sensitive, but often it reveals a failure of nerve. I believe the demand that we ought to reveals a species of fascism within the left - an embrace of political correctness with its required silences, which has left people afraid to offend or take a stand.

The idea you can tell a writer of a specific religion to stop writing about that religion is presumptuous.

The idea that a student can write a sonnet or a novel without having a sound understanding about its history, and where it fits into literature as a whole, seems to me to be manifestly daft.

The idea that I'm going to have to sit down to write some fiction where I'm going to have to think of a plot would really scare me, because it would come out a mess.

The idea to make hotel reviews the form of the novel came first. So I just started writing hotel reviews and tried to come up with a consistent voice.

The imagination and the place that dreams come from is so huge and so important. I'm trying to write about the real world, in that I'm trying to write about whatever it is the experience that makes us human, the things that we have in common.

The imagination can be dangerous. It can change the world. And that is why we write.

The immediacy of the technology of the web allows us, as songwriters, to write something very sharp and quick. That has a lot to do with helping a songwriter be more reflective of reality, instead of being in an area where you have to process things. It's the difference between processing fish and catching it in a boat.

The importance is getting to something truthful and in that moment can only be in that moment. I don't like to use the word "improvise," but it's a continual writing of the film.

The imaginative leap for me of writing for women is no more difficult than the one of writing for men. I've always wanted to have women well represented in the work that I've done because I've always been around them and around the way they look at the world.