Best 30386 quotes in «writing quotes» category

I need to write to be happy.

I never asked Tolstoy to write for me, a little colored girl in Lorain, Ohio. I never asked [James] Joyce not to mention Catholicism or the world of Dublin. Never. And I don't know why I should be asked to explain your life to you. We have splendid writers to do that, but I am not one of them. It is that business of being universal, a word hopelessly stripped of meaning for me. Faulkner wrote what I suppose could be called regional literature and had it published all over the world. That's what I wish to do. If I tried to write a universal novel, it would be water. Behind this question is the suggestion that to write for black people is somehow to diminish the writing. From my perspective there are only black people. When I say 'people,' that's what I mean.

i never begin my writings with talent. i begin them with strong emotions and liquor. they finish with talent.

I never considered myself a horror author until I got published and the powers that be told me that's what I was. I just write and don't concern myself with what category the publishers and bookstores decide to sell my books in.

I never had any doubts about my abilities. I knew I could write. I just had to figure out how to eat while doing this. [Cormac McCarthy's Venomous Fiction, New York Times, April 19, 1992]

I never want to forget that if Lewis Carroll had asked me whether or not he should bother writing about a little girl named Alice who fell asleep and dreamed that she had a lot of adventures down a rabbit hole, it would not have sounded awfully tempting to any editor.

I never wrote completely in that style again. Once the record was released, I heard all the Dylan comparisons, so I steered away from it. But the lyrics and spirit of "Greetings" came from an unselfconscious place. Your early songs emerge from the moment when you're writing with no sure prospect of ever being heard. Up until then, it's been just you and your music. That only happens once.

In everything, almost in everything, I wrote I was guided by the need of collecting ideas which, linked together, would be the expression of myself, though each individual idea, expressed separately in words, loses its meaning, is horribly debased when only one of the links, of which it forms a part, is taken by itself. But the interlinking of these ideas is not, I think, an intellectual process, but something else, and it is impossible to express the source of this interlinking directly in words; it can only be done indirectly by describing images, actions, and situations in words.

In facing our shattered life stories, we must reach deep inside our pain -- for it is here that we can break our silence and find our new voice.

In flight from intellectual heaviness, [he] arrives at intelligent weightlessness. Every notion is flipped this way and that; the answer to every question is yes and no; the proliferating examples from all the arts...overwhelm the observations that they are designed to illustrate; the general impression in one of uncontrollable articulateness. [He] does not think his thoughts; he convenes them. There is not a sign of struggle anywhere.

In front of me 327 pages of the manuscript [Master and Margarita] (about 22 chapters). The most important remains - editing, and it's going to be hard. I will have to pay close attention to details. Maybe even re-write some things... 'What's its future?' you ask? I don't know. Possibly, you will store the manuscript in one of the drawers, next to my 'killed' plays, and occasionally it will be in your thoughts. Then again, you don't know the future. My own judgement of the book is already made and I think it truly deserves being hidden away in the darkness of some chest. [Bulgakov from Moscow to his wife on June 15 1938]

In general, poor is polite and rich is rude.

In general there should be gay characters in YA because a) surprise, there are gay folks everywhere and b) in my opinion as a father, there’s not a damn thing wrong with my child encountering gay folks in her literature, because see point a).

Ingenting er mer krevende og angstfremkallende enn et nytt, fullstendig hvitt lerret. Hvordan du enn begynner, så føles det som om du ødelegger alt.

In God’s Kingdom there are no overnight sensations or flash-in-the-pan successes. Anyone who wants to be used of God will experience hidden years in the backside of the desert. During that time the Lord is polishing, sharpening and preparing us to fit into His bow, so at the right time, like “a polished shaft” He can launch us into fruitful service. The invisible years are years of serving, studying, being faithful in another person’s ministry and doing the behind-the-scenes work. The Bible says, ‘God is not unjust; he will not forget your work’ (Hebrews 6:10 NIV 2011 Edition). Be patient; when the time is right He will bring forth the fruit He placed inside you.

In God's presence I find peace that is much deeper than any disappointment. I will grow and I understand I can't grow myself, that is why I need God and His grace.

In her book The Writing Life (1989), Annie Dillard tells the story of a fellow writer who was asked by a student, "Do you think I could be a writer?" "'Well,' the writer said, 'do you like sentences?'" The student is surprised by the question, but Dillard knows exactly what was meant. He was being told, she explains, that "if he likes sentences he could begin," and she remembers a similar conversation with a painter friend. "I asked him how he came to be a painter. He said, 'I like the smell of paint.'" The point, made implicitly (Dillard does not belabour it), is that you don't begin with a grand conception, either of the great American novel or masterpiece that will hang in the Louvre. You begin with a feel for the nitty-gritty material of the medium, paint in one case, sentences in the other.

Ink, a Drug.

Inking is meditation in liquid form...

Ink to parchment, words to paper, glory to Beatrice.

In life, be a kid in a candy store.

Iniquity shall be increased above that which now thou see, or that thou hast heard long ago.

In LA, you think you're making something up, but it's making you up.

In less than an hour I have to hold class for a group of idiot freshmen. And, on a desk in the living room, is a mountain of midterm examinations with essays I must suffer through, feeling my stomach turn at their paucity of intelligence, their adolescent phraseology. And all that tripe, all those miles of hideous prose, had been would into an eternal skein in his head. And there it sat unraveling into his own writing until he wondered if he could stand the thought of living anymore. I have digested the worst, he thought. Is it any wonder that I exude it piecemeal? (“Mad House”)

In love there is truth, and in truth there is peace.

In Literature it is only the wild that attracts us.

In literature, too, we admire prose in which a small and astutely arranged set of words has been constructed to carry a large consignment of ideas. 'We all have strength enough to bear the misfortunes of others,' writes La Rochefoucauld in an aphorism which transports us with an energy and exactitude comparable to that of Maillard bridge. The Swiss engineer reduces the number of supports just as the French writer compacts into a single line what lesser minds might have taken pages to express. We delight in complexity to which genius has lent an appearance of simplicity. (p 207)

In many a case, the phrase ‘I’d like to get to know you better’ is a euphemism for ‘I want us to fuck.

In many ways, likability is a very elaborate lie, a performance, a code of conduct dictating the proper way to be. Characters who don't follow this code become unlikable. Critics who criticize a character's unlikability cannot necessarily be faulted. They are merely expressing a wider cultural malaise with all things unpleasant, all things that dare to breach the norm of social acceptability.

In modern times couples are more concerned about loyalty than love.

In my head, when the gales are riding wild, I steer towards catastrophe then write about it.

In my imagination, the Editor meditated in a mountain-cave, espoused the rules of grammar, and frowned upon speculative fiction.

In my opinion it is not the writer's job to solve such problems as God, pessimism, etc; his job is merely to record who, under what conditions, said or thought what about God or pessimism. The artist is not meant to be a judge of his characters and what they say; his only job is to be an impartial witness. I heard two Russians in a muddled conversation about pessimism, a conversation that solved nothing; all I am bound to do is reproduce that conversation exactly as I heard it. Drawing conclusions is up to the jury, that is, the readers. My only job is to be talented, that is, to know how to distinguish important testimony from unimportant, to place my characters in the proper light and speak their language.

In my opinion, works of art should be viewed as gifts; something precious given from a point of empathy, where personal enrichment is vastly superior to the value of the gift, and the giver begs for nothing but for the gift to shine on its own.

In older myths, the dark road leads downward into the Underworld, where Persephone is carried off by Hades, much against her will, while Ishtar descends of her own accord to beat at the gates of Hell. This road of darkness lies to the West, according to Native American myth, and each of us must travel it at some point in our lives. The western road is one of trials, ordeals, disasters and abrupt life changes — yet a road to be honored, nevertheless, as the road on which wisdom is gained. James Hillman, whose theory of 'archetypal psychology' draws extensively on Greco–Roman myth, echoes this belief when he argues that darkness is vital at certain periods of life, questioning our modern tendency to equate mental health with happiness. It is in the Underworld, he reminds us, that seeds germinate and prepare for spring. Myths of descent and rebirth connect the soul's cycles to those of nature.

In our modern world, this elemental quality of storytelling is denied. We live today in a world in which everything has its place and function and nothing is left out of place. Storytelling is thus at a discount and like everything else in a world ruled by the laws of exchange value, literature is required to submit itself to the requirements of the market and must learn, like any other commodity, to adapt and serve needs that lie outside of itself and its concrete value. It is forced to stand not for itself but for an ideological cause of one sort or another, whether it be political, social or literary. It cannot exist for itself: like everything else it has to be justified. And for this very reason the power of storytelling is automatically devalued. Literature is reduced to the status of complimentary utilitarian functions: as a pastime to provide distraction and entertainment, or as a heightened activity that would claim to explore 'great truths' about the human condition.

In order to create you have to believe in your ability to do so and that often means excluding whole chunks of normal life, and, of course, pumping yourself up as much as possible as a way of keeping on. Sort of cheering for yourself in the great football stadium of life." (Barnes & Noble Review, email dialogue with Cameron Martin, Feb. 09, 2009)

In poetry we pare down our thoughts into their most graceful shapes, like minimalist sculptures.

In reading a recent novel, I myself was convicted by a comment the mother makes to her adult daughter: ‘My dear, you’ve missed so many opportunities to say nothing.’ We do miss these opportunities, as well as opportunities to say less and say it more judiciously. And so we miss particular delights of finding words and speaking them into silences big enough to allow them to be heard.

In real life I fell easily under the spell of all traveling artists. En route to New Orleans, entertainments of many kinds would stop over in those days for a single performance in Jackson's Century Theatre. Then, as now, my imagination was magnetized toward transient artists - toward the transience as much as the artists. I must have seen "Acrobats in a Park" at the time I wrote the story as exotic, free of any experience as I knew it. At the center of the little story is the Zorro's act: the feat of erecting a structure of their bodies that holds together, interlocked, and stands like a wall. Writing about the family act, I was writing about the family itself, its strength as a unit, testing its frailty under stress. I treated it in an artificial and oddly formal way; the stronghold of the family is put on view as a structure built each night; on the night before the story opens, the Wall has come down when the most vulnerable member slips, and the act is done for. But from various points within it and from outside it, I've been writing about the structure of the family in stories and novels ever since. In spite of my uncompromising approach to it, my fundamental story form might have been trying to announce itself to me.

In prose, when you wrote something, it's symphonic… There's something ethereal in that process that's euphoric.

In real life people do occasionally act out of character or do things we wouldn’t normally expect them to do. In fiction, there should be a good reason for a character to do something outside of the ordinary.

Inside" Children Inside each of us are the children we were at each developmental stage. With regard to our creative dreams, these inside children can prevent us from living them by "acting out" in order to try to get our attention. Your inner 5-year-old is not going to patiently wait as you learn intricate metalworking techniques or study impressionist painting. Yet, your inner 10-year-old may be perfectly suited to learn and observe new skills. What's really needed is parenting of these inside children so that we bring them to age-appropriate activities.

Inside Critics The critical voices in our own heads are far more vicious than what we might hear from the outside. Our "inside critics" have intimate knowledge of us and can zero in on our weakest spots. You might be told by the critics that you're too fat, too old, too young, not intelligent enough, a quitter, not logical, prone to try too many things... It's all balderdash! Some elements of these may be true, and it's completely up to you how they affect you. Inside critics are really just trying to protect you. You can: Learn to dialogue with them. Give them new jobs. Turn them into allies. You can also dismantle/exterminate them.

Inspiration for my short stories grows from a psychic kernel, a vision of some sort or an eccentric, colorful dream.

Inspirations never go in for long engagements; they demand immediate marriage to action.

Instead of speaking and writing majority needs to learn and understand first.

Intercourse with resuscitated wife for particular number of days, superstitious act designed to insure safe operation of household machinery. Electricity mourns the absence of the energy from (wife) within the household’s walls by stalling its flow to the outlets. As such, an improvised friction need to take the place of electricity, to goad the natural currents back to their proper levels. This is achieved with the dead wife. She must be found, revived, and then penetrated until heat fills the room, until the toaster is shooting bread onto the floor, until she is smiling beneath you with black teeth and grabbing your bottom. Then the vacuum rides by and no one is pushing it, it is on full steam. Days flip past in chunks of fake light, and the intercourse is placed in the back of the mind. But it is always there, that moving into a static-ridden corpse that once spoke familiar messages in the morning when the sun was new.

In terms of craft, there’s no excuse for losing readers through sloppy workmanship. If they doze off in the middle of your article because you have been careless about a technical detail, the fault is yours. But on the larger issue of whether the reader likes you, or likes what you are saying or how you are saying it, or agrees with it, or feels an affinity for your sense of humor or your vision of life, don’t give him a moment’s worry. You are who you are, he is who he is, and either you’ll get along or you won’t.

In the beginning was the Word. Then came the fucking word processor. Then came the thought processor. Then came the death of literature. And so it goes.