Best 30386 quotes in «writing quotes» category

Flowers wither knowing that you exist.

Focus on writing first.

Folding the laundry, completing another project at work, or watching television for the next hour doesn’t build your writing muscles. It only leaves them flabby.

Focus on the end, not the beginning- on the beginning not the end- The process proceeds in the inner dimension.

Follow the rules until you make them.

Follow life’s bliss.

Follow your gut, Storyteller, it will lead to your happy ending.

Food shouldn’t be that shade of green, lass.” – Faolán MacIntyre

For a different woman, a different relationship, a different situation, gentleness might have been the proper, the only approach—but not for this woman, in these circumstances. The only thing that will cleanse Claire (and reassure her: look at what she says at the end of it. She feels safe again, having felt the power and violence in him) is violence. And—the most important point here—Jamie pays attention to what she wants, rather than proceeding with his own notion of how it should be, even though it’s a sensible notion and the one most people would have.

For a lot of people, their first love is what they'll always remember. For me it's always been the first hate, and I think that hatred, though it provides often rather junky energy, is a terrific way of getting you out of bed in the morning and keeping you going. If you don't let it get out of hand, it can be canalized into writing. In this country where people love to be nonjudgmental when they can be, which translates as, on the whole, lenient, there are an awful lot of bubble reputations floating around that one wouldn't be doing one's job if one didn't itch to prick.

For a long time, I felt like I was destined to inherit a certain kind of life and so I wouldn’t let myself think of it for fear of being even cognitively associated with it. But writing about those same people and places changed that, and I could suddenly face them and understand them and forgive them. It was really then that I was able to understand that I wasn’t my past. Nobody is. One thing I have always loved about writing is how it can transform you and allow you to reinvent yourself. You could spend your whole life as a teacher, a doctor, a mother, a convict, whatever it may be; but the day you start writing, you start over. You’re a writer now.

For a long time, I was the girl who believed nothing good would ever come her way. So much so that I could will the negative to come before the good could even make it to my location.

For a moment, I debated whether I should tell someone about the words I'd started writing down, but I couldn't. In a way, I felt ashamed, even though my writing was the one thing that whispered okayness in my ear. I didn't speak it, to anyone.

For authors, the shortest distance between two points is a straight line only if you are writing the letter I.

For a writer, it seems a help rather than a hindrance to be at least a little crazy. Who but a crazy person would carve out a very private, quiet place in the world, only to pour his/her innermost thoughts and emotions onto a page for the entire world to examine? Even in fiction, we give a map to our most secret feelings. Why do writers do it? Perhaps because we'd be crazier still if we didn't.

For as long as I shall live, I look forward to never growing old with you.

For a week or a fortnight I can write prodigiously in a retired place (as at Broadstairs), and a day in London sets me up again and starts me. But the toil and labour of writing, day after day, without that magic lantern, is IMMENSE!!... My figures seem disposed to stagnate without crowds about them.

For centuries, no man, in verse has ever done, or ever seemed to think of doing, an original thing. The fact is that originality (unless in minds of very unusual force) is by no means a matter, as some suppose, of impulse or intuition. In general, to be found, it must be elaborately sought and, although a positive merit of the highest class, demands in its attainment less of invention than negation.

For days and weeks on end one racks one's brains to no avail, and, if asked, one could not say whether one goes on writing purely out of habit, or a craving for admiration, or because one knows not how to do anything other, or out of sheer wonderment, despair or outrage, any more than one could say whether writing renders one more perceptive or more insane. Perhaps we all lose our sense of reality to the precise degree to which we are engrossed in our own work, and perhaps that is why we see in the increasing complexity of our mental constructs a means for greater understanding, even while intuitively we know that we shall never be able to fathom the imponderables that govern our course through life?

Foreshadowing is like playing cat and mouse. If done properly, it can be used to compel the reader to read on.

For every writer, there is a challenge of time that is only magnified in the solitude of the work.

For example, instead of saying that it was a rainy night, you can say, “At night she could see from her window that the postcard-perfect sky from an hour ago had turned to a dark abyss filled with tar-black clouds that had just begun to weep heavily, as though completely devoid of any hope in the humankind beneath.

For days & nights, Phoolan related her extraordinary life via an interpreter. Recorded & transcribed, the typescript ran to 2000 pages. Writer Marie-Therese Cuny & I shaped this into a first draft. Then over several weeks in 1995, and with the aid of translator & journalist Vijay Kranti, Susanna & I read it back to Phoolan page by page. She would interrupt to correct errors, clear confusing contradictions, & add more recollections as they came to her. Phoolan signed her name at the bottom of each page, the only word she knew how to write.

For few matters you need to be solo, for some matters you need soul mate and for many matters you need society,

Forgiveness. The ability to forgive oneself. Stop here for a few breaths and think about this because it is the key to making art, and very possibly the key to finding any semblance of happiness in life. Every time I have set out to translate the book (or story, or hopelessly long essay) that exists in such brilliant detail on the big screen of my limbic system onto a piece of paper (which, let’s face it, was once a towering tree crowned with leaves and a home to birds). I grieve for my own lack of talent and intelligence. Every. Single. Time. Were I smarter, more gifted, I could pin down a closer facsimile of the wonders I see. I believe, more than anything, that this grief of constantly having to face down our own inadequacies is what keeps people from being writers. Forgiveness, therefore, is key. I can’t write the book I want to write, but I can and will write the book I am capable of writing. Again and again throughout the course of my life I will forgive myself.

For Gone Girl, I knew Nick and Amy had to be very believable, so I made ipod playlists for them, and knew their netflix queues. I wrote scenes of them in childhood from other people’s points of view: A scene of Amy in highschool, written from her friend’s POV, or Nicks kindergarten teacher writing about parent-teacher conference night. Stuff I knew I’d never use, but would help me flesh them out. I do that a lot when I’ve hit a writer’s block — it keeps me writing and sometimes helps solve a problem. Amy’s Cool Girl speech started as a writing exercise, but that one I liked so much I kept it for the book. Once I have a first draft, then the actual real work for me begins, because then I can see the novel as a whole and see what needs work. I do tons of rewriting; it’s where the book becomes a book.

For historians, creative writers provide a kind of pornography. They break the rules and admit the thing that is imagined, but is not licensed to be imagined.

For like as the ground is given unto the wood, and the sea to his floods: even so they that dwell upon the earth may understand nothing but that which is upon the earth: and he that dwell above the heavens may only understand the things that are above the height of the heavens.

For me, art that's alive and urgent is about what it is to be a human being.

For me, all writing -- storytelling and style -- gets back to the Bible, Twain and Hemingway, and not in that order.

For me and most of the other writers I know, writing is not rapturous. In fact, the only way I can get anything written at all is to write really, really shitty first drafts.

For me, writing is just as much a choice as breathing. I can quit anytime I want, but not starting again would prove fatal.

For most digital-age writers, writing is rewriting. We grope, cut, block, paste, and twitch, panning for gold onscreen by deleting bucketloads of crap. Our analog ancestors had to polish every line mentally before hammering it out mechanically. Rewrites cost them months, meters of ink ribbon, and pints of Tippex. Poor sods.

For people never say anything the same way twice; no two of them ever say it the same. The greatest imaginative writer that ever brooded in a lavender robe and a mellowed briar in his teeth, couldn't tell you, though e try for a lifetime, how the simplest strap-hanger will ask the conductor to be let off at the next stop. ... It is all for the taking. All the manuals by frustrated fictioneers on how to write can't give you the first syllable of reality, at any cot, that any common conversation can. All the classics, read and re-read, can't help you catch the ring of truth as does the word heard first-hand.

For obvious reasons, the relationship between novelists, the reviewing establishment and critics in general is chronically, and often acutely, edgy. A kind of low-intensity warfare prevails, with outbreaks of savagery. It is partly an ownership issue. Who, other than its creator, is to say what a work of fiction means or is worth? It can take years to write a novel and only a few hours for a critic, or a reviewer rushing for a tight deadline, to trash it.

For some, like me, writing comes at a price. My best creations were written while I was emotionally ripped open. I've spent some scenes so mentally self-exposed that I could barely see what I was writing. And as I sit here-my heart pounding, heaviness threatening to pull my heart down to my stomach, I ask myself this question...are you ready to bleed some more? I smile and without pause, I pull up my current WIP.

For that is what you are, that is who you are – you are an author. You cannot cease to write any more than you can cease to breathe...This difficult season will pass – your eyes and mind will inevitably be opened once more to the wealth of ideas all around you...And even if the ideas around you fall short of what you seek – even if, as you say, you have not the heart to write… perhaps it is your heart you ought to write of. - Laurie to Jo, on writing

For the curious reader; from the hopeful storyteller. Could we believe together?

For the past years I was so good at hiding my pain that it went ignored.

For some young artists, it can take a bit of time to discover which tools (which medium, or genre, or career pathway) will truly suit them best. For me, although many different art forms attract me, the tools that I find most natural and comfortable are language and oil paint; I've also learned that as someone with a limited number of spoons it's best to keep my toolbox clean and simple. My husband, by contrast, thrives with a toolbox absolutely crowded to bursting, working with language, voice, musical instruments, puppets, masks animated on a theater stage, computer and video imagery, and half a dozen other things besides, no one of these tools more important than the others, and all somehow working together. For other artists, the tools at hand might be needles and thread; or a jeweller's torch; or a rack of cooking spices; or the time to shape a young child's day.... To me, it's all art, inside the studio and out. At least it is if we approach our lives that way.

For those that say it is better to sleep when you're dead... They mustn't dream like me, for there's no sleep in my asleep; my slumber's the liveliest place to ever be!

For twenty years I have sat alone at a desk tinkering with sentences and then sending them out, and for most of my literary life the difference between throwing something in the trash and publishing it was imperceptible...

For those of you who are begging God for a breakthrough, this is not the way of getting something from your heavenly father, you don't have to beg him for what He already bought for you, you don't have to beg Him for what He died to give you. You don't have to convince people, you don't have to convince anybody if God likes to do a work in your life, it is done.

For Tolstoy . . . anything that human beings do has its glory. . . . I think he can be said to have hated nothing that ever happened.

For writers - even sportswriters - bad news is always easier than good, since it is, after all, more familiar.

For what was it about books that once finished left the reader in a bit of a haze and made them reread the last few sentences in order to continue the ringing in their hearts a while longer, so as not to let the silence illumine the fact that reading, they had gained something — distance, a lesson, a companion, a new world — but now, after the last full stop, they had lost something palpable and felt a little emptier than before.

For writers, handing a manuscript off to an editor is like walking into a parole hearing. You’ve done the time but wonder if it’s going to satisfy the judge.

Four years ago the clocks started turning back. I open my eyes and see nothing. I feel nothing below or above me. I feel the absence of things. The absence of my flesh, my bones, my body, my mind. All that is left is awareness. I see nothing but the absence of colour. It’s not a black darkness. It’s simply nothing. The interior of a black hole. I recall news of a black hole lingering along the edges of our solar system. All that time ago. Four years ago. When the clocks started turning back. I hear nothing. Until there is a something. A small thing. A voice. I listen. There are more voices. The sounds are human. How long has it been since I’ve heard a human? The sounds scratch along my now present attention. They carve into my hearing. They are horrid, wretched things. Voices screaming. Growing loud and desperate. How many voices? Billions. This is the birth of our species. We are born screaming. It’s all we know to do. We have screamed for eternity. Within this empty space.

Francie always remembered what that kind teacher told her. “You know, Francie, a lot of people would think that these stories that you’re making up all the time were terrible lies because they are not the truth as people see the truth. In the future, when something comes up, you tell exactly how it happened but write down for yourself the way you think it should have happened. Tell the truth and write the story. Then you won’t get mixed up.

Four great adventures; read, learn, write and travel.