Best 30386 quotes in «writing quotes» category

There was about a two-year period at the end of the '60s, when I realized I was in the wrong place and entertaining the wrong people with the wrong material and that I was not being true to myself. I went through a metamorphosis into something more authentic for me, a more authentic stage voice and writing voice.

There was a day when I liked writing letters -- it has gone. Unfortunately the passion for getting them remains.

There was a period of a few months, however, when I had a dreadful physical pain. I had just started writing a particular section of the novel and was initially worried that it would affect my work. I was woken by awful nightmares; I saw several doctors, tests were performed, nothing came of them, and the medics were mystified.It was two days after I finished writing the section that the penny dropped. The pain had suddenly disappeared and so too had the nightmares. I'd got things muddled. The pain and the nightmares were both psychosomatic.

There was a period of time in America where the advertising world actually went to the housewives of America and had them write jingles that would appeal to them. It was actually brilliant marketing.

There was a price to be paid for being interested in fiction and in writing, pushing my family away. Books and authors became my family.

There was a long stint during my childhood after I gave up on being a pro football player - were talking sixth grade here - that I strongly considered a future writing and drawing comic books. I have been making stuff up ever since.

There was a seminar for advanced students in Zürich that I was teaching and von Neumann was in the class. I came to a certain theorem, and I said it is not proved and it may be difficult. Von Neumann didn't say anything but after five minutes he raised his hand. When I called on him he went to the blackboard and proceeded to write down the proof. After that I was afraid of von Neumann.

There was a time before I felt I was a real writer, when I was a yarn spinner and I just wanted to tell story until it was over. But then there came a time where I was like, 'No, I want to understand something through writing this that I might have not understood before. I want people to come away with something to think about.'

There was a time when I thought I turned terrible things over in my mind because I read and wrote too many scary stories. (Note self: start writing about unicorns and bunnies)

There was a message written in pencil on the tiles by the roller towel. This was it: What is the purpose of life? Trout plundered his pockets for a pen or pencil. He had an answer to the question. But he had nothing to write with, not even a burnt match. So he left the question unanswered, but here is what he would have written, if he had found anything to write with: To be the eyes and ears and conscience of the Creator of the Universe, you fool.

There was a time when hip-hop was its own musical principle, aside from sampling. Like the entire Wild Style break is instrumental. Kurtis Blow's earliest stuff was studio musicians playing. Whodini had a real clear sound, things like "five minutes of funk," stuff that you could write really beautiful, lush string and horn arrangements around, stuff that was just music.

There was no really good true war book during the entire four years of the war. The only true writing that came through during the war was in poetry. One reason for this is that poets are not arrested as quickly as prose writers.

There was no real strategic decision about editorial tone. It was kind of a write whatever you want to write, and we'll see how it goes. I think that we lucked out in that all of the women who started writing at Feministing.com were really funny, and I don't think that's something people are used to seeing or hearing when they read feminism. You know, you think feminism and you kind of think academic, women's studies, dry, humorless; there are all of these stereotypes that go along with what feminist thought is and what feminist writing is.

There was lots of pleasure in writing The Flamethrowers. Then again, what is pleasure? Some pleasure is easy and other kinds are never quite felt, existing only as the residue of hard work, or more as satisfaction than thrill.

There was no "decision" per se to re-position myself. I simply decided that I wanted to write a book that would help people influence others.

There was more of a flow to my output of writing in the past, certainly. Having no contemporaries left means you cannot say, "Well, so-and-so will like this," which you do when you're younger. You realize there is no so-and-so anymore. You are your own so-and-so. There is a bleak side to it.

there was no crime in unconscious plagiarism; that I committed it everyday, that he committed it everyday, that every man alive on earth who writes or speaks commits it every day and not merely once or twice but every time he open his mouth… there is nothing of our own in it except some slight change born of our temperament, character, environment, teachings and associations

There was no single moment when I thought, Aha! What a great idea! Rather there was a slow and gradual accumulation of numerous small ideas.

There was one person who greatly and directly benefited my career--my agent Virginia Kidd. From 1968 to the late nineties she represented all my work, in every field except poetry. I could send her an utterly indescribable story, and she'd sell it to Playboy or the Harvard Law Review or Weird Tales or The New Yorker--she knew where to take it. She never told me what to write or not write, she never told me, That won't sell, and she never meddled with my prose.

There was no way I could write a paper knowing that Andy Warhol and Boy George were partying at Danceteria.

There was one sequence of days [making Lincoln in the Bardo] when I had halfway decided to use the historical nuggets, but I wasn't quite sure it would work. I'd be in my room for six or seven hours, cutting up bits of paper with quotes and arranging them on the floor, with this little voice in my head saying, "Hey, this isn't writing!" But at the end of that day, I felt that the resulting section was doing important emotional work

There was the usual dreaminess, I suppose. Also a shyness that caused me - and others - to notice that I could express myself better by writing than by speaking. This is typical of many writers, I think. What is a drawback in childhood is an asset to a literary life. Not being fluent on one’s feet sends one to the page and a habit is born.

There was - there still is - a big shortage of good Chinese-English literary translators. So for two years in London, I was stuck waiting, not writing, with several Chinese books I couldn't get translated. That's when I decided to write in English, since I had been living here and had decided to reconstruct my life here. Even if I wrote in broken English, it was better than getting bored and weary and bitter on the long queue of authors waiting to be translated by a stranger.

There was writing and foreign languages. I always had an ease with foreign languages. So the both are related, both language related kind of mind.

There were always men looking for jobs in America. There were always all these usable bodies. And I wanted to be a writer. Almost everybody was a writer. Not everybody thought they could be a dentist or an automobile mechanic but everybody knew they could be a writer. Of those fifty guys in the room, probably fifteen of them thought they were writers. Almost everybody used words and could write them down, i.e., almost everybody could be a writer. But most men, fortunately, aren't writers, or even cab drivers, and some men - many men - unfortunately aren't anything.

There wasn't a persona or an attitude that I could reliably write good stuff from.There wasn't a persona or an attitude that I could reliably write good stuff from.

There was this one model in French Elle. I can’t imagine what it must be like to be her. She was brunette with big lips and was wearing this tight navy dress by Azzedine someone. She was so beautiful; and the choices she must have. and…Oh, I would give it all up just to have been born that way because her life will be so easy. She won’t have to think, and men will fall into her lap and…It’s all unfair and I don’t want to even write it. It will never change, and no one wants to admit it but being thin and pretty is the best thing a woman can be.

There were a lot of lessons of production to be learned. On the page, the biggest thing you learn on any TV show is how to write to your cast. You write the show at the beginning with certain voices in your head and you have a way that you think the characters will be, and then you have an actor go out there, and you start watching dailies and episodes. Then, you start realizing what they can do and what they can't do, what they're good at and what they're not so good at, how they say things and what fits in their mouth, and you start tailoring the voice of the show to your cast.

There were also some cruel reviews by women, but the tone of the male reviewers, sometimes hysterical, was different. I have suffered, but I don't want to name names but there have been men who have seemed to want to destroy me or my writing, men I don't even know.

There were definitely scenes I struggled with more than others: the car accident and the thunderstorm are two that come to mind. It's difficult to write about a thunderstorm. There are only so many ways to describe it and our vocabulary is so limited. And the car accident scene required a tense, manic quality that had to be conveyed in the language, as well as the character's dialogue and actions. I was editing these scenes long after I thought I was finished with them.

There were the days when women were under contract, and they were thought of as a commodity, so they hired the best writers and a lot of them were women at the time. This was in the thirties and forties, to make product for the people who were under contract, who were their assets to the studios. But that doesn't exist anymore - and as a result, the people who are in the industry write products that interest them.

There were times in the past that I got angry at some members of the press whose writings greatly disrupted my serious pursuit of art and my behavior as an artist.

...there were certain chapters when I stopped writing, saw the domestic situation I was in and thought, "I don't want to face this world, let's get back to the hellish one I'm imagining.

There were times when depression, anxiety, whatever, would keep me from writing. I still get depressed and anxious, but I just don't let it stop me. I've just learned to move it to one side if I want to work.

There were people whose only interest in life was writing letters. To the newspapers, to authors, to strangers, to City Councils, to the police. It did not much matter to whom; the satisfaction of writing seemed to be all.

There were creative-writin g teachers long before there were creative-writin g courses, and they were called and continue to be called editors.

There were musicians that influenced me, but they weren't all women. Teena Marie was a big influence because she wrote and produced her own music, which let me know that women could write and produce their own music, which was an empowering moment for me.

There were songs I would write about breaking up with somebody before I broke up with them, months and months before I broke up with them.

There were times in my career when I would try to write songs like Bob Dylan... Artists get hooked up in that. To be a follower, you lose.

There will always be some kid who's the new Kurt Cobain writing great lyrics and singing from his soul. The problem is they're not marketing that anymore or putting it out there.

There will never again be a day exactly like today. There will never again be a moment exactly like this moment. After my next birthday, I will never again be the age I am right now. After midnight tonight, today will be part of history. Someday I'll be dying and I'll wish I'd done all the things I want to do now. Someday I'll be dead and I won't be able to do anything. But today, right now, I'm alive. And yet I'm writing nonsense on the back of my literature book. But I'm alive. And yet I'm just sitting here. But I'm alive.

There will be birds and if they write your name in the sky then you can get on the buses and if they don't you have to die on the floor.

There will come a day when you will be stronger and you will forget that person that just broke your heart. It's very hard to do that, but that's why you surround yourself with good people. Or write a song!

There will be this mix of people like me who write for major national newspapers and amateur critics, practitioner critics, whose primary way of distributing what they talk about is through blogs and on the web. The line between professional and amateur criticism will become increasingly blurred. The problem here is that if you want to do this for a living, you have to be able to earn a living doing it.

The rhyme always knows better than you, and leads you to places where you wouldn't otherwise have gotten to and that is absolutely the case. Leading off from formal poetry, there is something about when you pay attention to form and you allow it to have its own laws and you listen to those laws you really do end up in places you wouldn't otherwise go. Which isn't to say that I believe in following the rules when I write. I don't. Each of the forms in my books feels to me new.

The road to hell is paved with leeks and potatoes

The road to Hell is paved with unbought stuffed dogs.

The role of the writer is not to say what we can all say, but what we are unable to say. Most of the writing today which is called fiction contains such a poverty of language, such triteness, that it is a shrunken, diminished world we enter, poorer and more formless than the poorest cripple deprived of ears and eyes and tongue. The writer's responsibility is to increase, develop our senses, expand our vision, heighten our awareness and enrich our articulateness.

The roughest part for me when I'm writing a song is staring at a blank page. Where am I going from here? If you're a songwriter, you have to do that every time you start a song.

The rule is: the word 'it's' (with apostrophe) stands for 'it is' or 'it has'. If the word does not stand for 'it is' or 'it has' then what you require is 'its'. This is extremely easy to grasp. Getting your itses mixed up is the greatest solecism in the world of punctuation. No matter that you have a PhD and have read all of Henry James twice. If you still persist in writing, 'Good food at it's best', you deserve to be struck by lightning, hacked up on the spot and buried in an unmarked grave.