Best 30386 quotes in «writing quotes» category

Montaigne simply turns his mind loose and writes whatever he feels like writing. Mostly, he wants to say that reason is not a special, unique gift of human beings, marking us off from the rest of nature.

Money, money, all is money! Could you write even a penny novelette without money to put heart in you?

Monty Python paid me £20,000 to write, direct and assemble them - the cheapskates! I told them I'd never earned less in a year since leaving Cambridge. The first show sold out in 43 seconds and we ended up performing ten in total. We had no idea there would be such demand.

More and more in the art world are becoming moralistic, telling artists and critics what they should and shouldn't write, do, or make art about. Never mind the intellectual hypocrisy of this: Those who violate the clublike code are made out to be wrong, immoral, corrupt.

More or less the first thing that comes into my head is that some people are always looking for what they want to do in life and never finding it. I'm not one of those people. It has been very obvious to me from an early age who I am, and this has been tied up with creativity, and, specifically, with writing.

More significant than the fact that poets write abstrusely, painters paint abstractly, and composers compose unintelligible music is that people should admire what they cannot understand; indeed, admire that which has no meaning or principle.

More than a career, I feel that I've got a function. I see things in a much more holistic way. Some people bake the bread, and some people write the songs.

More people have more access to more readers for less money than ever before in history. It means a lot of dross; but it means a lot of very talented people can find and nurture a readership in ways that were not possible twenty years ago. From a creative perspective, that is all that writing is about.

More than fantasy or even science fiction, Ray Bradbury wrote horror, and like so many great horror writers he was himself utterly without fear, of anything. He wasn't afraid of looking uncool - he wasn't scared to openly love innocence, or to be optimistic, or to write sentimentally when he felt that way.

Morrissey writes wonderful song titles, but sadly he often forgets to write the song.

More than anything that's been the thread through my life - the desire to write, the impulse to write. I mean, it's taken me other places, but it was the impulse to write that led me to singing.

More than two years after Mad About the Boy was published, the [Bridget Jones's Baby: The Diaries ] movie started coming together. I felt better about the material, and found myself writing a letter from Bridget to her son: explaining the original story of how he came to be, from his own Mum.

Morning is a new sheet of paper for you to write on.

Most actors are starving. Most of us are walking around with a flashlight and tweezers looking for evidence. When you have someone that actually writes an acting role, it's rare.

Most authors liken the struggle of writing to something mighty and macho, like wrestling a bear. Writing a book is nothing like that. It is a small, slow crawl to the finish line. Honestly, I have moments when I don't even care if anyone reads this book. I just want to finish it.

More than periods where I don't write anything, I have periods where I just write junk and I know I'm writing junk but I can't stop.

More times than not, it's a failed endeavor. You will fail more times than you succeed. But I think you need those failed endeavors.

Most authors steal their works, or buy.

Most composers and arrangers these days use computer programs and keyboards, but I'm one of those dinosaurs that still writes it down on score paper and still dreams it up in his ear first.

Most critics write critiques which are by the authors they write critiques about. That would not be so bad, but then most authorswrite works which are by the critics who write critiques about them.

Most artists, you know, you spend their entire lives learning how to play music and write songs, and they don't really know how the music business works.

Most books about writing are filled with bullshit. Fiction writers, present company included, don’t understand very much about what they do—not why it works when it’s good, not why it doesn’t when it’s bad.

Most British playwrights of my generation, as well as younger folks, apparently feel somewhat obliged to Russian literature - and not only those writing for theatres. Russian literature is part of the basic background knowledge for any writer. So there is nothing exceptional in the interest I had towards Russian literature and theatre. Frankly, I couldn't image what a culture would be like without sympathy towards Russian literature and Russia, whether we'd be talking about drama or Djagilev.

Most directors, I discovered, need to be convinced that the screenplay they're going to direct has something to do with them. And this is a tricky thing if you write screenplays where women have parts that are equal to or greater than the male part. And I thought, 'Why am I out there looking for directors?'—because you look at a list of directors, it's all boys. It certainly was when I started as a screenwriter. So I thought, 'I'm just gonna become a director and that'll make it easier.'

Most books are about aspects of human knowledge - Few people write books about human ignorance, despite the fact that there would be much more to write about

Most critical writing is drivel and half of it is dishonest. It is a short cut to oblivion, anyway. Thinking in terms of ideas destroys the power to think in terms of emotions and sensations.

Most established novelists are writing books informed by experiences gained in their youth. Middle age is not the best time to be changing smartphones every six months or adopting new technology platforms - because we tend to get slower and less accommodating to change as we age.

Most games follow a real railroad plot, no matter what you want, you're following their storyline to its unavoidable conclusion. I'd like to write a game where your character can follow any number of possible story arcs and sub-plots.

Most bad books get that way because their authors are engaged in trying to justify themselves. If a vain author is an alcoholic, then the most sympathetically portrayed character in his book will be an alcoholic. This sort of thing is very boring for outsiders.

Most bloggers who rise above the clutter are quite often prolific -they work hard, not just writing content but networking, engaging in Social Media and more.

Most clear writing is a sign that there is no exploration going on. Clear prose indicates the absence of thought.

Most eyes have more than one color, but usually they're related. Blue eyes may have two shades of blue, or blue and gray, or blue and green, or even a fleck or two of brown. Most people don't notice that. When I first went to get my state ID card, the form asked for eye color. I tried to write in all the colors in my own eyes, but the space wasnt big enough. They told me to put 'brown'. I put 'brown', but that is not the only color in my eyes. It is just the color that people see because they do not really look atr other people's eyes.

Most good writing is clear, vigorous, honest, alive, sensuous, appropriate, unsentimental, rhythmic, without pretension, fresh, metaphorical, evocative in sound, economical, authoritative, surprising, memorable, and light.

Most important of all, there is no right or wrong way to write - there's only what works for you. I was taught to write every day, but I know a writer (a bestseller at that!) who only writes on weekends.

Mostly, I don't write overtly personal stuff.

Mostly I have to try to censor myself so as not to write things that will hurt other people, or that will go too far.

Mostly, you become a writer not because you want to get rich or famous, but because you have to write; because there is something inside that must come out.

Mostly singing was cathartic, writing was cathartic, therapeutic. I don't think I had a goal, particularly, to sing or put it out there for anybody.

Mostly I'm just writing books for the public, and so I try to describe for the public what the choices are, what they might have to expect in the future and so by warning people ahead of time maybe you have an effect.

Mostly it's lies, writing novels. You set out to tell an untrue story and you try to make it believable, even to yourself. Which calls for details; any good lie does.

Mostly, we authors must repeat ourselves - that's the truth. We have two or three great and moving experiences in our lives - experiences so great and moving that it doesn't seem at the time anyone else has been so caught up and so pounded and dazzled and astonished and beaten and broken and rescued and illuminated and rewarded and humbled in just that way ever before. Then we learn our trade, well or less well, and we tell our two or three stories - each time in a new disguise - maybe ten times, maybe a hundred, as long as people will listen.

Most of my formal choices are a combination of everything I learned about form - semiotics, linguistics, and the history of style experimentations tethered to literary movements (formalism, deconstruction, modernism, and postmodernism), and the basic principal of breaking every rule I ever learned from a patriarchal writing tradition that never included my body or experience, and thus has nothing to offer me in terms of representation.

Most of my music theory knowledge is based on piano. But I write on guitar a lot, too. I'm not a great guitar player by any means. I'm not a great instrumentalist. I play piano on stage. I don't play guitar on stage, but I use it to write quite a lot.

Most of my recent plays were written in the railway train between Hatfield and Kings Cross. I write anywhere, on the top of omnibuses or wherever I may be; it is all the same to me.

Most of my songs are pretty sketchy. There's not a lot of bass sections. I don't write big bridges. Sometimes I'll try. But it's hard for me to focus that way, because I always think it's more interesting to just see what will happen next.

Most of my writing is an effort, one way or another, to figure something out about myself, and often when I read dialogue between my characters I recognize it as a discussion between two aspects of my own personality, aspects which are too often at odds.

Most of my work is done before we start shooting, preparation work, so my normal day begins when I start writing, it might even be the night before.

Most of my writing friends are working in academia. Most of my business school friends are always talking about bringing companies public, and money, and making money, and lots and lots of money. It's just a different environment.

Most of the complexity of the stories has developed as the stories came along (and may be a product of the principle that "nothing is what it seems"). I did start with some essential ambiguousness in the aliens' motivation and the questions this raises in human minds, which I consider to have been disregarded in Contact (novel and film). That, in part, may be what has delayed the writing of the fifth and sixth novelettes in the series.

Most musicals are informed by very rigid archetypes. If you get a very sophisticated mind writing them, you sense something else, but it's a folk-art form, really, at its best. At different times I've tried to push against it as much as I possibly could, but ultimately it is a folk-art form.