Best 30386 quotes in «writing quotes» category

The most clear-sided view of the darkest possible situation is itself an act of optimism

The most critical part of becoming “so good they can’t ignore you” is to be “so prolific you don’t recognise yourself”. Once you cross that threshold you can actually look at your own work with a relatively objective, critical eye.

The most difficult thing about writing; is writing the first line.

The most difficult thing to do after a life well lived is to sit down and type it all out. To start with, your fingers are old and gnarled. You can see the skin crinkled up like paper, the knobby knuckles, the veins standing up blue and aggressive and you wonder, when did your hands change, when did they stop being young and firm and definite, when did the hesitancy creep in, when did the trembling begin. Your mind sieves through memories as thick as molasses and as bitterly sweet. The words trip on your tongue but hesitate to make their way onto the page because you debate endlessly in your head about which of them you should put down in print, terrified of the permanency of the written word. Memories are the kind of elusiveness that shift, change form, and remodel themselves by the second. It is a challenge to wrestle with them, to get them to agree to be analysed, to be put down in words and encapsulated into sentences, moulded into paragraphs. As long as they are shifting, morphing into different things as the moment suits them, they aren’t bound by one person’s recollection of how things were, of how they happened. These are my memories. And this was my life. And so I try to write this. I am already half way through what I am trying to put down. I have no idea who would want to read the story of my life. But I write it out, more for myself, than for anyone else who would care to read.

The most essential gift for a good writer is a built-in, shock-proof, shit detector. This is the writer's radar and all great writers have had it.

The most fascinating thing to me about your letter is that buried beneath all the anxiety and sorrow and fear and self-loathing, there’s arrogance at its core. It presumes you should be successful at twenty-six, when really it takes most writers much longer to get there.

The most important advantage of writing is that it helps us confront ourselves when we do not understand something as well as we would like to believe.

The music lets me see the story but the story doesn't let me write the words.

The most successful critics are always scribbling things in their programs, largely because it gives them an important and industrious air. Also, it is interesting to try to figure out what you've written afterward. Last week, for instance, I made a very helpful note during the second act of a drama called "They Walk Alone." "Lanchstr get face stuck 1 these nights awful if," it seemed to say.

The movement Of the body is Where poetry Begins

The murder of a child has no justification, even if the bombs have missed their mark.

The name of a great writer is usually bigger than the title of his book. Both literally and figuratively.

Then an argument would ensue because they were men with different ideas.

The myth that we must have "time" - more time - in order to create is a myth that keeps us from using the time we do have. If we are forever yearning for "more", we are forever discounting what is offered.

The nature of poems Is a matter of words and deeds An intimate encounter of voice In the ache of the heart In the labor of breathing A hesitant casting of eyes Away from the mundane to see That delicate and shiny thing In the oddly prosaic rock pile An extravagance of conceit An abundance of grace A prayer for words to speak

The New World Order is established by degrees. The first degree is truth of the one subject, which follows from the existence and the oneness of the universe, and from the ancient belief that God is all-knowing.

Then he went into the dining room, consulting his watch. It was ten thirty already. More than half the morning was gone. More than half the time for sitting and trying to write the prose that would make people sit up and gasp. It happened that way more often now than he would even admit to himself. Sleeping late, making up errands, doing anything to forestall the terrible moment when he must sit down before his typewriter and try to wrench some harvest from the growing desert of his mind. (“Mad House”)

The night before a deadline, I usually am in desperate need of a back rub. And new wrists. And candy. And little mice to secretly finish the job while I am sleeping.

Then it happened. One night as the rain beat on the slanted kitchen roof a great spirit slipped forever into my life. I held his book in my hands and trembled as he spoke to me of man and the world, of love and wisdom, pain and guilt, and I knew I would never be the same. His name was Fyodor Mikhailovich Dostoyevsky. He knew more of fathers and sons than any man in the world, and of brothers and sisters, priests and rogues, guilt and innocence. Dostoyevsky changed me. The Idiot, The Possessed, The Brothers Karamazov, The Gambler. He turned me inside out. I found I could breathe, could see invisible horizons. The hatred for my father melted. I loved my father, poor, suffering, haunted wretch. I loved my mother too, and all my family. It was time to become a man, to leave San Elmo and go out into the world. I wanted to think and feel like Dostoyevsky. I wanted to write. The week before I left town the draft board summoned me to Sacramento for my physical. I was glad to go. Someone other than myself could make my decisions. The army turned me down. I had asthma. Inflammation of the bronchial tubes. “That’s nothing. I’ve always had it.” “See your doctor.” I got the needed information from a medical book at the public library. Was asthma fatal? It could be. And so be it. Dostoyevsky had epilepsy, I had asthma. To write well a man must have a fatal ailment. It was the only way to deal with the presence of death.

Then I realized that I was falling victim to one of the fallacies of the bad reviewer (whose habits we already discussed at length in yesterday’s commentary). I was wishing that Hamid had written a different book than he had. How I might have written this story is completely irrelevant. It would be like dismissing The Godfather because I wished it were a musical. The novel needs to be considered on its own terms.

Then I realized the vital necessity of art. Human life, yes, you nurse people, you clean house, you market, but then comes the moment of solace and flight. i sit and write and summon other friends, other forms of life, other experiences, and the voyage and the exploration, the delving into character, the vast expanse of life's possibilities and potentialities, contemplation of future travels, of dazzling friendships, all this then makes the chores and the sacrifices beautiful because they are diverted toward some beautiful aim, they become part of the structure of a work of art.

The novelist’s happy discovery was to think of substituting for those opaque sections, impenetrable by the human spirit, their equivalent in immaterial sections, things, that is, which the spirit can assimilate to itself. After which it matters not that the actions, the feelings of this new order of creatures appear to us in the guise of truth, since we have made them our own, since it is in ourselves that they are happening, that they are holding in thrall, while we turn over, feverishly, the pages of the book, our quickened breath and staring eyes. And once the novelist has brought us to that state, in which, as in all purely mental states, every emotion is multiplied ten-fold, into which his book comes to disturb us as might a dream, but a dream more lucid, and of a more lasting impression than those which come to us in sleep; why, then, for the space of an hour he sets free within us all the joys and sorrows in the world, a few of which, only, we should have to spend years of our actual life in getting to know, and the keenest, the most intense of which would never have been revealed to us because the slow course of their development stops our perception of them.

Then took the quilt out of its linen wrapper for the pleasure of the brilliant colors and the feel of the velvet. The needlework was very fine and regular. Adair hated needlework and she could not imagine sitting and stitching the fine crow’s-foot seams. Writing was the same, the pinching of thoughts into marks on paper and trying to keep your cursive legible, trying to think of the next thing to say and then behind you on several sheets of paper you find you have left permanent tracks, a trail, upon which anybody could follow you. Stalking you through your deep woods of private thought.

The nutritionist said I should eat root vegetables. Said if I could get down thirteen turnips a day I would be grounded, rooted. Said my head would not keep flying away to where the darkness lives. The psychic told me my heart carries too much weight. Said for twenty dollars she’d tell me what to do. I handed her the twenty. She said, “Stop worrying, darling. You will find a good man soon.” The first psycho therapist told me to spend three hours each day sitting in a dark closet with my eyes closed and ears plugged. I tried it once but couldn’t stop thinking about how gay it was to be sitting in the closet. The yogi told me to stretch everything but the truth. Said to focus on the out breath. Said everyone finds happiness when they care more about what they give than what they get. The pharmacist said, “Lexapro, Lamicatl, Lithium, Xanax.” The doctor said an anti-psychotic might help me forget what the trauma said. The trauma said, “Don’t write these poems. Nobody wants to hear you cry about the grief inside your bones.” But my bones said, “Tyler Clementi jumped from the George Washington Bridge into the Hudson River convinced he was entirely alone.” My bones said, “Write the poems.

The novelist works neither to correct nor to condone, not at all to comfort, but to make what's told alive.

Then she said, "Listen to me, and listen to me carefully. What you are writing, and what you want to write," and she leaned forward again and tapped with her finger the piece I had given her, "this is very good and it will be published. Now listen. People will go after you for combining poverty and abuse. Such a stupid word, 'abuse', such a conventional and stupid word, but people will say there's poverty without abuse, and you will never say anything. Never ever defend your work. This is a story about love, you know that. This is a story of a man who has been tortured every day of his life for things he did in the war. This is the story of a wife who stayed with him, because most wives did in that generation, and she comes to her daughter's hospital room and talks compulsively about everyone's marriage going bad, she doesn't even know it, doesn't even know that's what she's doing. This is a story about a mother that loves her daughter. Imperfectly. Because we all love imperfectly. But if you find yourself protecting anyone as you write this piece, remember this: You're not doing it right.

The novelist is more like a pregnant woman who delivers her own child unaided. A messy procedure, with lots of groaning.

The novelty and freshness you'll bring to the field won't come from the new ideas you think up. Truly new ideas are rare, and usually turn out to be variations on old themes anyway. No, your freshness will come from the way you think, from the person you are; it will inevitably show up in your writing, provided you don't mask it with heavy-handed formulas or clichés.

The novel was set in an unspecified near future, because setting a novel in the present in a time of unprecedented technological and social dislocation seemed to me shortsighted.... To write a book set in the present, circa 2013, is to write about the distant past.

Then you repeat. The thing that goes badly wrong means that the someone we like has to take another step to get around the bad wrongness and back toward the something he wants VERY BADLY. He takes the next step, and everything goes even more badly wrong. Then he loses his map. Then his flashlight falls into a storm drain and he has an asthma attack and his seeing eye dog dies. Then the cop who pulls him over for speeding while driving drunk in the nude turns out to be the short-tempered father of the bride he is marrying tomorrow. Then it goes more badly wrong for the someone we like, much more badly. Then the party is attacked and scattered by a band of goblins, and then the Gollum is on his trail, and the lure of the Ring is slowly destroying his mind. Then he finds the blasted corpses of his foster parents killed by Imperial Storm Troopers, and his house burnt to the ground. Then Lex Luthor chains a lump of Kryptonite around his neck and pushes him into a swimming pool and fires twin stealth atomic rockets at the San Andreas Fault in California and at Hackensack, New Jersey. And the spunky but beautiful girl reporter falls into a crack in the earth and dies. Then he is stung by Shelob and dies. Then he is maimed by Darth Vader and discovers his arch foe is his very own father, and he loses his grip and falls. Then he steps out unarmed to confront Lord Voldemort and dies. Then Judas Iscariot kisses him, Peter denounces him, he is humiliated, spat upon, whipped, betrayed by the crowd, tortured, sees his weeping mother, and dies a painful, horrible death and dies. Then he is thrown overboard and swallowed by a whale and dies. Then he gets help, gets better, arises from his swoon, is raised from the dead, the stone rolls back, the lucky shot hits the thermal exhaust port, and the Death Star blows up, the Dark Tower falls, the spunky but beautiful girl reporter is alive again due to a time paradox, and he is given all power under heaven and earth and either rides off into the sunset, or goes back to the bat-cave, or ascends into heaven, and we roll the credits.

The 'one book' which hasn't been written yet, even then persistent a book is being written by me, and might never end! While, I survive inside my brain with someone.

The one thing that you have that nobody else has is you. Your voice, your mind, your story, your vision. So write and draw and build and play and dance and live as only you can." [Keynote Address, University of the Arts, 134th Commencement (Philadelphia, PA, May 17, 2012)]

The only duty of the dreamer is to tell the truth about the dream.

The only happiness you have is writing something new, in the middle of the night, armpits damp, heart pounding, something no one has yet seen. You have only those brief, fragile, untested moments of exhilaration when you know: you are a genius.

The only man she ever loved. And hated.

...[T]he only means I have to stop ignorant snobs from behaving towards genre fiction with snobbish ignorance is to not reinforce their ignorance and snobbery by lying and saying that when I write SF it isn't SF, but to tell them more or less patiently for forty or fifty years that they are wrong to exclude SF and fantasy from literature, and proving my arguments by writing well.

The only thing better than a well-read book is a well-read book only read by yourself.

...the only things you must have to become a writer are the stamina to continue and a wily, cagey heart in the face of extremity, failure and success.

The only thing more interesting than the truth is fiction dressed up as the truth.

The only thing a closed book is good for is a table that wobbles. Be an open book.

The only time I really feel the urge to compose myself it's when I'm writing or speaking.

The only way to write is to write. Writers write. And when they’ve written, they write some more.

The only way to overcome fear and doubt is to go against them.

The only way you'll find out if you "have it in you" is to get to work and see if you do. The only way to override your "limitations, insecurities, jealousies, and ineptitude" is to produce. You have limitations. You are in some way inept. This is true of every writer, and it's especially true of writers who are twenty-six. You will feel insecure and jealous. How much power you give those feelings is entirely up to you.

The open door is never behind you; the open door is always before you. Quit looking at your past life and mistakes. Look unto Jesus who is the Author and Perfector of our faith. Your open door is not in the opportunity you missed ten years ago, it is not in some stuffs behind you that you can't get back. You can't gain your access by giving attention to your past life. Your past days are behind you and what God has for you is in front of you. Just pay attention.

The Other Worlds which fairy tales explore open a way for writers and storytellers to speak in Other terms, especially when the native inhabitants of the imaginary places do not belong to an established living faith and therefore do not command belief or repudiation. The tongue can be very free when it is speaking outside the jurisdiction of religion.

The other night we talked about literature's elimination of the unessential, so that we are given a concentrated "dose" of life. I said, almost indignantly, "That's the danger of it, it prepares you to live, but at the same time, it exposes you to disappointments because it gives a heightened concept of living, it leaves out the dull or stagnant moments. You, in your books, also have a heightened rhythm, and a sequence of events so packed with excitement that I expected all your life to be delirious, intoxicated." Literature is an exaggeration, a dramatization, and those who are nourished on it (as I was) are in great danger of trying to approximate an impossible rhythm. Trying to live up to Dostoevskian scenes every day. And between writers there is a straining after extravagance. We incite each other to jazz-up our rhythm.

The page is to the story as the seed is to the flower.

The pages of a book are given life only as they are opened

The panther that has stalked you since you were a child is old now. No longer wild, and tired of guarding the treasure you yourself left behind - blind and deaf, she will give it all to you if you just let her go.