Best 30386 quotes in «writing quotes» category

As we have seen, WikiLeaks is a robust organization. During my time in solitary confinement in the basement of a Victorian prison, we continue to release, our media partners continued to write stories. The important revelations from this material continue to come out. We have approximately 2,000 cables into 250,000.

As usual, the note occupied less than a page and included neither salutation nor closing, Uncle Hal's opinion being that since the letter had a direction upon it, the intended recipient was obvious, the seal indicated plainly who had written it, and he did not waste his time in writing to fools.

A sweet thing, perspective - a chance to see your enemies so small.

As you consider whether to move a child into formal academic training, remember that we want our children to do more than just learn how to read and write; we want them to learn in such a way that they become lifelong readers and writers. If we push our children to start learning these skills too far ahead of their own spontaneous interest and their capacity, we may sacrifice the long-range goal of having them enjoy such pursuits.

As you get older you're told to be sensible, but it's important for writing if you're a comic that you're able to still access that childlike thing.

As writers, we don't just need to write about poverty or war or the immigrant experience.

As you get drawn more and more into other activities, like political activities, very demanding, you have to find different rhythms of writing; I think that's the word I'm looking for, rhythms of creativity which then, of course, become very intense. I think your writing then tends to be very intensified simply because there are other demands which seem equally important.

As we write, so we build: to keep a record of what matters to us.

As with all other aspects of fiction, the key to writing good dialogue is honesty.

As with editing, I think my strength as a writer is structure. It's not a skill that's much discussed when we discuss fiction, or not as much as language or character development anyway, but it's the first thing I determine before I begin writing - not just books, but anything. I think I know how to pace a narrative well. I think I'm aware of repetition, that I try to create different kinds of sentences as often as I can. Those are all things I learned from magazine editing.

As writers go, I have a skin of average thickness. I am pleased by a good review, disappointed by a bad. None of it penetrates far enough to influence the thing I write next.

A synonym is a word you use when you can't spell the word you first thought of.

As you continue writing and rewriting, you begin to see possibilities you hadn't seen before. Writing a poem is always a process of discovery.

As you get older you don't want to just do the same thing, otherwise there's not much point. I think it's more or less trying to write things that, perhaps, say more by doing less, or you're always trying to refine things, make things a little simpler, a little more essential.

As you write plays, you discover what you believe. And until you know what you believe, you can't write a play.

As you go on you realize "Okay I know how to get laughs but am I saying things I want to say? Am I writing jokes that I like?" You get to a point that is that so you move on.

As you know, I am a novelist, and I really want to write novels. But I knew enough about the Dreyfus case to understand immediately why what happened to Dreyfus was not merely a cause celebre from the end of the 19th century, but an event that could be shown to teach us lessons of the greatest importance for our own time.

As you know, I have over the years written critically about the U.N. I have consistently stressed in my writings that American leadership is critical to the success of the U.N., an effective U.N., one that is true to the original intent of its charter's framers.

A talent for drama is not a talent for writing, but is ability to articulate human relationships.

At a tender age, I commandeered half a quire of foolscap from my father's desk and sat down to write a book. ...I had observed onprinted fly leaves the words "By the author of, etc." ...So under the title of my prospective work I wrote: By the author of "Les Miserables," "The Woman in White," "Dombey and Son," "Tom Brown's Schooldays" and "Our Life in the Highlands," the last-named being an opus of good Queen Victoria. I had not read all these works but they existed on our bookshelves, and I hoped to produce something worthy of comparison.

At Brandies I discovered Feminism. And I instantly became a convert... writing brilliant papers in my Myths of Patriarchy class, in which I likened my fate as a woman to other victims throughout the ages.

At DePauw, I was teaching writing and fiction. The things I wanted to teach, more than anything else, were form and theory of the novel, of narrative. I liked those classes.

At best, the relationship between drama critic and playwright is a pretty twiggy affair. When I'm asked whom I write for, after the obligatory, I write only for myself, I realize that I have an imaginary circle of peers - writers and respected or savvy theatre folk, some dramatic writers and some not, some living, some long gone. . . . Often a writer is aware as he works that a certain critic is going to hate this one. . . . You don't let what a critic might say worry you or alter your work; it might even add a spark to the gleeful process of creation.

At eleven I was at the peak of my creative powers: I was writing stories and playlets, putting together poetryprojects. I was absorbed by my 'work.' At twelve I was no longer reading or writing, just counting off days and checking them off. I was interested in survival.

At conventions, one of the standard questions I get is, 'Are you writing any new novels?' To which I used to respond, in my smart-[alec] fashion, 'No, I've decided to write only old novels.'

At first glance it may appear too hard. Look again. Always look again.

At forty my faculties may have closed up like flowers at evening, leaving me unable to write my memoirs with a fitting and discreet inaccuracy, or, having written them, unable to carry them to the publisher.

At first I had no skills in writing comedy. I didn't know what a joke was, but, as someone once told me, your emotions follow your intent. If you create the intention of starting a comedy act, slowly your mind starts adjusting and you arrive at a new emotional state.

At first, I see pictures of a story in my mind. Then creating the story comes from asking questions of myself. I guess you might call it the 'what if - what then' approach to writing and illustration.

At first I was thinking of it as superheroes who happened to be teenagers. Then I realized, no, I'm writing about teenagers who happen to be superheroes. Thinking like that changed everything for me. I started approaching the stories through the characters' core emotions, rather than leading with the superpowers.

At forty, I was too old to work as a programmer myself anymore; writing code is a young person’s job.

At first, I spend about four hours a day writing. Toward the end of a book, I spend up to 16 hours a day on it, because all I want to do is make it good and get it done.

At first, when an idea, a poem, or the desire to write takes hold of you, work is a pleasure, a delight, and your enthusiasm knows no bounds. But later on you work with difficulty, doggedly, desperately. For once you have committed yourself to a particular work, inspiration changes its form and becomes an obsession, like a love-affair… which haunts you night and day! Once at grips with a work, we must master it completely before we can recover our idleness.

At first, writing for The New Yorker was very scary to me. I couldn't imagine anything that I would write in that typeface.

A thing may in itself be the finest piece of writing one has ever done, and yet have absolutely no place in the manuscript one hopes to publish.

A theme that appears repeatedly in the writings of the social critics of the second half of the 20th century is the sense of purposelessness that afflicts many people in modern society.

A theologian should be thoroughly in possession of the basis and source of faith--that is to say, the Holy Scriptures. Armed with this knowledge it was that I confounded and silenced all my adversaries; for they seek not to fathom and understand the Scriptures; they run them over negligently and drowsily; they speak, they write, they teach, according to the suggestion of their heedless imaginations.

A thing when I was writing the movie 'The hateful eight' was, I hate The Confederate cause. I've always felt that they are our Nazis and the rebel flag was our swastika. So I totally have no love for that whole romance for that Antebellum time period.

A tight structural form opens possibilities. Take a pattern, an established model or sub-genre, and write to it. In writing, limitation gives freedom

At its heartmeat core, writing is about exploring the questions of your heart on the assumption that what intrigues you, what inflames or amuses or ennobles you, will have the same effect on someone else. It's about taking chances, and taking risks, and pushing yourself to be honest in the issues that present themselves.

At its most basic we are discussing a learned skill (writing), but do we not agree that sometimes the most basic skills can create things far beyond our expectations? We are talking about tools and carpentry, about words and style... but as we move along, you'd do well to remember that we are also talking about magic.

...at last I understood that writing was this: an impulse to share with other people a feeling or truth that I myself had.

A Tibetan Lama said to me, "The best place to stand, Ram Dass, is halfway between hope and hopelessness." So I can write a scenario for the 21st century in either direction. One is that it all goes to hell and that it's truly the dark age.This is quotes copyright © By Pumpkin Limited

A thousand things to be written had I time: had I power. A very little writing uses up my capacity for writing.

At its best, the sensation of writing is that of any unmerited grace. It is handed to you, but only if you look for it.

At least for the people who send me mail about a new language that they're designing, the general advice is: do it to learn about how to write a compiler

At least half the mystery novels published violate the law that the solution, once revealed, must seem to be inevitable.

At least I'm at peace with myself. I have done my best to write a book about what really happened there and why it happened and it's done, it's published. I won't write another book on Vietnam.

At most, I may write when I am disturbed by something. I have recently discovered the pleasure of finding written answers to written questions.

At night, never go to bed without knowing what you'll write tomorrow.