Best 30386 quotes in «writing quotes» category

We cling to the idea that success is a simple function of individual merit and that the world in which we all grow up and the rules we choose to write as a society don't matter at all.

We continue, however, to write about important people, prize-winning people, blacks of grandeur, women of great fire, fame or wit. We do not write about ordinary people.

We definitely tend to gravitate toward writing more on the darker side of life, but also incorporate the light at the end of the tunnel; you can see a positive in it.

We definitely set out to make a great 'radio' record. We set out to write great hooky choruses-but with verses that said something.

We create an interior 'movie' in the reader's head through words on the page.

We decided that the French could never write user-friendly software because they're so rude.

We deserve a president of the United States who will write laws for all Americans, not for campaign contributors. And I intend to be a president for all Americans who takes back the flag of our country because it doesn't belong to any party, doesn't belong to any president.

We did meet forty years ago. At that time we were both influenced by Whitman and I said, jokingly in part, 'I don't think anything can be done in Spanish, do you?' Neruda agreed, but we decided it was too late for us to write our verse in English. We'd have to make the best of a second-rate literature.

We delude ourselves if we believe that skilled behavior is easy, that it can come about without effort. We forget the years of tuning, of learning and practice it takes to be skilled at even the most fundamental of human activities: eating, walking, talking, reading, and writing. It is tempting to want instant gratification - immediate expert performance and experiential pleasure - but the truth is that this primarily occurs only after considerable amounts of accretion and tuning.

We die in proportion to the words we fling around us.

We didn't say good bye. But we knew it would be the end if we were apart. There was no reason to call or write letters. As it would have been meaningless, if we couldn't hold each other tight.

We'd like to just write nothing but lyric poetry. The trouble is, the individual is going along intent on his own personal gratifications and love affairs and financial affairs and everything else. But loping alongside him is this fascist lout who keeps trying to take over. And if you keep ignoring him, he gets bigger and bigger, so every once in a while the free individual has to turn away from his private pursuits and give this fascist lout a few clouts, and beat him down to size.

We do not precisely enjoy liberty at the Figaro. M. de Latouche, our worthy director (ah! you should know the fellow), is always hanging over us, cutting, pruning, right or wrong, imposing upon us his whims, his aberrations, his fancies, and we have to write as he bids.

We do not wait for inspiration. We work because we've jolly well got to. But when all is said and done, we toil at this particular job because it's turned out to be our particular job, and in a weird sort of way I suppose we may be said to like it.

We do not write as we want, but as we can.

We do not truly own our thoughts or experiences until we have negotiated them with ourselvesand for this writing is the prime medium.

We don't often talk about the fact that writing is all about rhythm. When you get too up in your head, you can lose a lot of your writing. Sometimes what a writer really needs to do is go dancing.

We don't know what we're writing until it just comes out. We don't sit around crunching numbers

We don't have enough words for photography. Can you imagine writers having only one word for writing?

We don’t read and write poetry because it’s cute. We read and write poetry because we are members of the human race.

We don't perceive a contradiction between writing books, making films or producing a television program. These days you can't choose how you want to express yourself anymore.

We don't usually write up accidents involving rabbits. - Joe Morelli

We either learn to accept or we end up writing letters home with crayons.

We do want the freedom to move scenes from episode to episode to episode. And we do want the freedom to move writing from episode to episode to episode, because as it starts to come in and as you start to look at it as a five-hour movie just like you would in a two-hour movie, move a scene from the first 30 minutes to maybe 50 minutes in. In a streaming series, you would now be in a different episode. It's so complicated, and we're so still using the rules that were built for episodic television that we're really trying to figure it out.

We don't think about how the songs are going to translate so much during the writing process. Once the song is recorded, and once we're mixing, that's when it occurs to me. Then you start rehearsing to play shows. I never concern myself about how we're going to pull it off live, because I know we'll figure out a way to do it.

We don't work in the traditional TV format where we're like writing concurrently to shooting. Like, we really view it as a large feature film.

We do very little re-writing in the office. We often take on people who show great promise and who we hope will develop into somebody important and someone good.

We do what we want to do. We write songs. We try not to repeat ourselves too much. We have our own sound and our own way of doing things. Up until now it has always been enjoyable. None of the members have ever got to the point where they don't want to be involved in it ... It's not entirely possible for me to stand back and look at the Rolling Stones because being a part of it you can't. I wish that I could just sit in the audience for one night and see the show. Everyone in the band has said that at some point. But then you wouldn't be seeing the whole band. And that's the problem with that.

We exponents of horror do much better than those Method actors. We make the unbelievable believable. More often than not, they make the believable unbelievable.

We fret about words, we writers. Words mean. Words point. They are arrows. Arrows stuck in the rough hide of reality. And the more portentous, more general the word, the more they can also resemble rooms or tunnels. They can expand, or cave in. They can come to be filled with a bad smell. They will often remind us of other rooms, where we'd rather dwell or where we think we are already living. They can be spaces we lose the art or the wisdom of inhabiting. And eventually those volumes of mental intention we no longer know how to inhabit will be abandoned, boarded up, closed down.

We get so many people saying short fiction is not economical, that it doesn't sell; but there are so many of us enjoying writing it and reading it. So it's wonderful to be around people who love short fiction too - it's like hanging around with my tribe.

We get a lot of unsolicited manuscripts here. Im not even a publisher, but we get several a week. I dont read them, but I do glance through some of them, and some people dont need to be writing, they have something else.

We grew up in abject poverty. Acting, writing scripts and skits were a way of escaping our environment at a very young age.

We go to school and teachers teach us to read and write but nobody teaches us about the purposeful commitment and intentionality it takes to make our marriages healthy and sustain love over a lifetime. Most people seem to think love should "naturally" sustain itself as it did during the beginning of our relationship with each other -but that just isn't realistic.

We had met with Ben Stiller here in LA when I was shooting The Ring and he was doing Meet The Fockers and we have friends in common. But we didn't know each other well. He's fantastic and we really had a great time on this and we were both laughing at where we were at, this other couple, and how it was mirroring what we were going through as well. It was clever writing in that way.

We had very, very, very little money to make the show [ Gigi Does It]. We shot every episode in two days. It was non-WGA, non-DGA, so we couldn't write anything. The whole thing had to be improv.

We had so much fun together as friends that I suggested we [with Kate DiCamillo] write a book together.

We had stayed up all night, my friends and I, under hanging mosque lamps with domes of filigreed brass, domes starred like our spirits, shining like them with the prisoned radiance of electric hearts. For hours we had trampled our atavistic ennui into rich oriental rugs, arguing up to the last confines of logic and blackening many reams of paper with our frenzied scribbling.

We had a teacher, named Mr. Brown, and he was writing something on the board once - he was writing something on the board, and he farted. And you would have thought kids had seen the face of God. Kids weren't even laughing; they were just sitting there screaming, just screaming. Kids had to get carted out; kids were screaming. Kids had to get carted out, and they were going to the nurses' office. Kids are crying in the hallway. 'Oh, this is our 9/11.' And it was. It was their 9/11 'cause they never thought anything like that could ever happen.

We had an ancient Russian acting coach at my drama school who said the worst offense you could commit was to let your subtext show. That is the point of acting, is to be saying one thing and not be allowed by society or your predicament to show what you're really feeling. In a way, I think that's why the therapy generation has killed script writing, because all you ever get is people going, "Hi, I'm feeling really angry right now.

We have always learned about life by dramatising our questions.

We have a lot of women on the staff, obviously. It's a predominantly female writing staff and we hire the best people. It's not like we go we need more women or we need four women directing.

We have been assured, Sir, in the Sacred Writings, that 'except the Lord build the House, they labor in vain that build it' I firmly believe this; by our partial local interests; our projects will be confounded, and we ourselves shall become a reproach and a by word down to future ages.

We have chosen to write the biography of our disease because we love it platonically - as Amy Lowell loved Keats - and have sought its acquaintance wherever we could find it. And in this growing intimacy we have become increasingly impressed with the influence that this and other infectious diseases, which span - in their protoplasmic continuities - the entire history of mankind, have had upon the fates of men.

We have come to think that duty should come first. I disagree. Duty should be a by-product. Writing, the creative effort, the use of the imagination, should come first – at least, for some part of every day of your life. It is a wonderful blessing if you use it. You will become happier, more enlightened, alive, impassioned, light-hearted and generous to everybody else. Even your health will improve. Colds will disappear and all the other ailments of discouragement and boredom.

We have our own system, ... and journalists in our system are not put in prison for embarrassing the government by revealing things the government might not wish to have revealed. The important thing is that our system, under which journalists can write without fear or favor, should continue.

We have the right, and the obligation, to tell old stories in our own ways, because they are our stories.

We have such a young culture that there is an opportunity to contribute wonderful new myths to it, which will be accepted.

We have seen over and over that white male historians in general have tended to dismiss any history they didn't themselves write,on the grounds that it is unserious, unscholarly, a fad, too "political," "merely" oral and thus unreliable.

We have something happening that actually makes the Republican Party probably the biggest political story anywhere in the world. Everybody's writing about it. All over Europe, all over the world they're talking about it. Millions of people are coming in to vote.