Best 241 quotes in «creative process quotes» category

In displaying the psychology of your characters, minute particulars are essential. God save us from vague generalizations!" (Letter to Alexander Chekhov, May 10, 1886)

I never had any doubts about my abilities. I knew I could write. I just had to figure out how to eat while doing this. [Cormac McCarthy's Venomous Fiction, New York Times, April 19, 1992]

In every situation, at the beginning or end of the workday, you have a choice. You can look back or you can look forward. My advice: look forward. Always think about the next day. Don't go into the studio thinking, 'Hmmm, let's see what I was doing yesterday?' It takes more energy to twist yourself around and look back that it does to face forward.

IN HIS PRESENCE, I FEEL OUR AXIS RECALIBRATING. Where North was once —and for eons — the assigned pull of the Earth, in Sunny’s universe, all magnets drive us South. Or West. Or deep into the core because that’s more interesting to him. He’s a world-creator; he doesn’t walk from A to B the way most humans do, seeing what’s provided then dealing with, lamenting or pondering it. He creates what he wants and when you walk a path with him, you get shaped and reinvented, too. Not against your will, but more in tune with aspects of it, unfolding into the potential of a secret craving, fully funded. ~Amie, getting to know Sunny in The LOOK

In order to think outside of the box you must first build the box.

In order to create you have to believe in your ability to do so and that often means excluding whole chunks of normal life, and, of course, pumping yourself up as much as possible as a way of keeping on. Sort of cheering for yourself in the great football stadium of life." (Barnes & Noble Review, email dialogue with Cameron Martin, Feb. 09, 2009)

In this connection I must mention too a not altogether rational idea which I had nourished more or less vaguely for a long time: the notion that before I could achieve greatness as a writer I would have to pass through some ordeal. For this ordeal I had waited in vain. Even total war (I was never in uniform) failed to ruffle my life. I seemed doomed to quietness.

In time, all great masterpieces turn into shameless creatures who laugh at their creators.

I stood in the doorway and watched Dennis unbuttoning the blouse, pulling long shirttails out of her skirt and wetting her hair with his hands, letting hairspray clump together in long strands. Ruined like that, in front of me. It was hard to watch because it was so clean, so perfect. The glow from the television screen crawls over their faces and it's hard to convince yourself they are breathing, living things.

I remember when it was all done in first draft telling Gene Wolfe, who is the wisest writer I know and has written more excellent novels than any man I've met, that I thought I had now learned how to write a novel. Gene looked at me, and smiled kindly. "You never learn how to write a novel," he told me. "You only learn to write the novel you're on.

I struggled with a nebulous work which seemed now a nouvelle, now a vast novel, wherein a hero not unlike myself pursued, amid ghostly incidents, a series of reflections about life and art.

It's neither and it's both. That's the perfect kind of art. Labels only detract from the artist's intention.

I think a lot of modern art is complete bullshit. But I admire the creativity. The weird shit people think of! Some of the most interesting things I've ever seen in my life, I've seen in modern art museums. And that's what art is all about. It's supposed to make you think.

I think the hardest thing about writing is writing." [Interview clip in the In Memoriam section of the 85th Academy Awards ceremony, Feb. 24, 2013]

It is kind of ridiculous that a poet is expected to live in the real world.

It's not wise to violate the rules until you know how to observe them.

It is widely rumored, and also true, that I wrote my first novel in a closet.

i write because it is the only way i can reach you.

It's very important to write things down instantly, or you can lose the way you were thinking out a line. I have a rule that if I wake up at 3 in the morning and think of something, I write it down. I can't wait until morning -- it'll be gone." [Maria Shriver Interviews the Famously Private Poet Mary Oliver (O Magazine, March 2011)]

I've had to keep defining and defending myself as a writer every single day of my adult life -- constantly reminding and re-reminding my soul and the cosmos that I'm very serious about the business of creative living, and that I will never stop creating, no matter what the outcome, and no matter how deep my anxieties and insecurities may be.

I’ve learned that the creative life may or may not be the apex of human civilization, but either way it’s not what I thought it was. It doesn’t make you special and sparkly. You don’t have to walk alone. You can work in an office — I’ve worked in offices for the past 15 years and written five novels while doing it. The creative life is forgiving: You can betray it all you want, again and again, and no matter how many times you do, it will always take you back.

Life is beautiful dream.

Life, raw life, the kind we lead every day, whether it leads us into the past or the future, has the curious property of not seeming real enough. We have a need, however illusive, for a life that is more real than life. It lies in the imagination. Fiction would seem to be the way it is processed into reality. If this were not so we should have little excuse for art. Life, raw life, would be more than satisfactory in itself. But it seems to be the nature of man to transform—himself, if possible, and then the world around him—and the technique of this transformation is what we call art.

Many times, in life, you have opportunities and options, but not control. And when you are lucky the illusion of control is given to you; this is when you make symphonies.

Like most artists, everything I produced was connected to who I was - and so I suffered according to how my work was received. The idea that anyone might be able to detach their personal value from their public output was revolutionary.

Listen to what you have written. A dud rhythm in a passage of dialogue may show that you don't yet understand the characters well enough to write in their voices." [Ten rules for writing fiction (The Guardian, 20 February 2010)]

Like most artists, everything I produced was connected to who I was - and so I suffered according to how my work was received. The idea that anyone might be able to detach their personal value from their public output was revolutionary. I didn't know if it was possible, even desirable. Surely it would affect the quality of the work? Still, I knew I'd gone too far in the opposite direction, and something had to change. Ever since I could pick up a pen, other people's pleasure was how I'd garnered attention and defined success. When I began receiving public acknowledgement for a private act, something was essentially lost. My writing became the axis upon which all my identity and happiness hinged. It was not outward-looking, a self-conscious performance. I was asked to repeat the pleasure for people, again and again, until the facsimile of my act became the act itself. ...I'd been writing so long for the particular purpose of being approved that I'd forgotten the genesis of my impulse; unbothered, pure creation, existing outside the parameters of success and failure. And somewhere along the line, this being 'good' had come to paralyse my belief that I could write at all.

Maybe everyone does have a novel in them, perhaps even a great one. I don't believe it, but for the purposes of this argument, let's say it's so. Only a few of us are going to be willing to break our own hearts by trading in the living beauty of imagination for the stark disappointment of words.

Merely because you have got something to say that may be of interest to others does not free you from making all due effort to express that something in the best possible medium and form." [Letter to Max E. Feckler, Oct. 26, 1914]

Musicians have notes. Painters have paint. Writers have words.

Micro-managing creativity kills it. To encourage creative brilliance, foster an atmosphere where it can thrive and then step out of the way and let it happen.

MFA in a Box is designed to help you to find the courage to put truth into words and to understand that writing is a life-and-death endeavor — but that nothing about a life-and-death endeavor keeps it from being laugh-out-loud funny.

Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is non-existent. And don’t bother concealing your thievery - celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from - it’s where you take them to." [MovieMaker Magazine #53 - Winter, January 22, 2004 ]

Nothing stinks like a pile of unpublished writing, which remark I guess shows I still don't have pure motives (oh-it's-such-fun-I-just-can't-stop-who-cares-if-it's-published-or-read) about writing. It is more fun to me, than it was when I used it solely as a love-and-admiration-getting mechanism [...]. But I still want to see it finally ritualized in print.

My imagination was running amok again. Twice in one night. This never happens when I’m sitting in front of a typewriter.

Never forget, Each day that we have together is a precious gift. In the web of daily living, we are creating character. Let's take the time to create memories, listen and observe. Time flees, and it does not return. If we lose today, it is gone forever. Let's live for the present, and be prepared for the future. Let's grow strong, let's grow bigger, let's grow TOGETHER!

Oh God, for a few who will love me in tiny ways every single day of my flashing existence. For a mere one or two who will treat me like the trash I am, who will love the smell of garbage and rummage through the bin of my failings to find the wrapped cheeseburger they can do without but consider long enough to get their taste buds used to the idea. Oh for a melodious tongue to sing me a song about french fries.

One of the dumbest things you were ever taught was to write what you know. Because what you know is usually dull. Remember when you first wanted to be a writer? Eight or ten years old, reading about thin-lipped heroes flying over mysterious viny jungles toward untold wonders? That's what you wanted to write about, about what you didn't know. So. What mysterious time and place don't we know?" [Remember This: Write What You Don't Know (New York Times Book Review, December 31, 1989)]

Passion is a deep love for sacred activity.

Other worshipful objects were content with worship; men, women, God, all let one kneel prostrate; but this form, were it only the shape of a white lampshade looming on a wicker table, roused one to perpetual combat, challenged one to a fight in which one was bound to be worsted.

Patriarchy doesn't get yet that 'hope' is a powerful force that drives creativity. Otherwise words like 'false' and 'hope' would never be forced into this unconscious coupling....Hope is not false. And never has been... Rather, hope is part of the often forgotten feminine contribution to the creative process.

Playtime is a vital component of idea generation and fresh inspiration. It gives you permission to be in a state of discovery without purpose or agenda.

Pencil. Paper. Forget the world.

Perfection is like the grains of sand that we try to hold on tightly in the palms of our hands. But the harder we try to hold on to grains of sand, the faster the grains fall down from our hands!

Please don't entertain for a moment the utterly mistaken idea that there is no drudgery in writing. There is a great deal of drudgery in even the most inspired, the most noble, the most distinguished writing. Read what the great ones have said about their jobs; how they never sit down to their work without a sigh of distress and never get up from it witout a sigh of relief. Do you imagine that your Muse is forever flamelike -- breathing the inspired word, the wonderful situation, the superb solution into your attentive ear? ... Believe me, my poor boy, if you wait for inspiration in our set-up, you'll wait for ever.

poetry. i am not writing it. (make way for me please) it is my skin. dripping with light.

[Patricia Highsmith] went on to recommend that aspiring writers keep a notebook in which to jot down thoughts or ideas, that they should trust in the power of the unconscious and that they shouldn't force inspiration. In addition, it was important to avoid those who negated the creative process, sometimes people per se. 'The plane of social intercourse,' she said, 'is not the plane of creation, not the plane on which creative ideas fly [...] This is a curious thing, because sometimes the very people we are attracted to or in love with act as effectively as rubber insulators to the spark of inspiration.

Photographers don't take pictures. They create images.

Power up your intelligence. Hit that creativity button.

Put down everything that comes into your head and then you're a writer. But an author is one who can judge his own stuff's worth, without pity, and destroy most of it." (Casual Chance, 1964)