Best 189 quotes in «on writing quotes» category

How would you start to write a poem? How would you put together a series of words for its first line—how would you know which words to choose? When you read a poem, every word seemed so perfect that it had to have been predestined—well, a good poem.

I am really very grateful for this Award. It is one of the first given to a woman, and to two women at that. When I first started getting work published, I used to have wistful thoughts at the way all important awards were given to men. Women, I used to think, could be as innovative, imaginative and productive as possible - and women were the ones mostly at work in the field of fantasy for children and young adults - but only let a man enter the field, and people instantly regarded what he had to say and what he did as more Important. He got respectful reviews as well as awards, even if what he was doing - which it often was - was imitating the women. But you have changed all that. Thank you for being so enlightened. Women, large-minded, formidable women, have played an almost exclusive part in helping my career. I have hardly ever dealt with a man - at least, when it came to publishing:

I am simply of the opinion that you cannot be taught to write. You have to spend a lifetime in love with words.

I dealt with it the same way I deal with everything. I just tended my own garden, didn't pay much attention, behaved—I suppose—deviously. I mean I didn't actually let too many people know what I was doing.

I don’t know why the publishers in New York don’t take a tip from Hollywood and just publish the outlines of novels rather than the completed books. Let the audience use their imaginations, as my Maw always says about radio. I would much prefer to read an outline of War and Peace than slog through eight hundred thousand words. Why do I need Tolstoy to describe snow? I can imagine snow, whether Russian snow or just regular snow. But book publishers seem to think that the authors should do all the work, and the readers should be waited on hand-and-foot like a buncha goddamn prima donnas.

Ideas either age like fine wine or rot like potatoes over time.

- I don't want to be a writer so I can write about my life. I want to be a writer to escape from it. + Then you shouldn't be a writer.

I don't sit here and make these stories up. They are delivered to me, over time, by some relentless and shadowy demand. Trust me, if I wasn't compelled to write then I wouldn't; it doesn't generally make me happy, it certainly doesn't bring any fame or fortune, and the more I think about it the more I struggle to find the positives in it. And yet I cannot help but continually do it. It is like a whisper on a warm breeze from the heart of a portentous sunset: It promises so much, but, ultimately just draws you into the stormy waters.

I don't need to give you a pimple-by-pimple, skirt-by-skirt rundown. We all remember one or more high school losers, after all; if I describe mine, it freezes out yours, and I lose a little bit of the bond of understanding I want to forge between us.

If certain aspect needs to be inconsistent, it must better be consistently inconsistent throughout the story.

If it’s true, I have the absolute right to terrify you with it.

If I don't write it, they can't buy it.

If you are a singer, you must sing. If you are a dancer, you must dance. If you are a writer, you must write. Don’t suffocate your heart.

If you think there is no time to write now, there will never be.

If you've got a message, send a telegram.

If you don't know what those old occupations were, how they were done, and how they interacted with the passersby, you're not prepared to write a historical novel. A historical figure doesn't pass through a blank countryside. That means you, the novelist, must learn by research what the whole place was like in those times. As much as you can, you must be like someone who has lived there, because you're going to be not just the storyteller but also the tour guide taking your readers through the past.

I had come to the conclusion - based on experience - that the only real way of learning to write a novel was probably to write a novel.

I have found that a writer is formed not so much by their experiences but by the way in which they view and capture those experiences. Like vivid, rainbow metallic skin cells on the wings of a fragile butterfly, it is how you touch and reveal those inner parts of yourself, without damaging the psyche, that determines whether the beauty is experienced and expressed and shared with others or, in fact, becomes the death of the self and Soul and psyche. I hope that I capture something in my work that is about the elusive, the magical and powerful and the transformative. The writing in itself is transformative for me.

I have found that a writer is formed not so much by their experiences but by the way in which they view and capture those experiences.

I'm not much of a believer in the so-called character study; I think that in the end, the story should always be the boss.

I learn my world through writing.

I'm not much of a believer in the so-called character story; I think that in the end, the story should always be the boss.

I'm not asking you to come reverently or unquestioningly; I'm not asking you to be politically correct or cast aside your sense of humor (please God you have one). This isn't a popularity contest, it's not the moral Olympics, and it's not church. But it's Writing, damn it, not washing the car or putting on eyeliner. If you can take it seriously, we can do business. If you can't or won't, it's time for you to close the book and do something else. Wash the car, maybe.

I'm often dismayed by the sludge I see appearing on my screen if I approach writing as a task--the day's work--and not with some enjoyment.

I'm smart 1 day out of 30, but I never know which day it will be so I have to sit patiently, feeling like an ignoramus most of the time.

In my long career in this historical fiction business, though, I've found that the most effective storytelling concept is this: Once upon a time it was now. That has become my credo and my method as a longtime historical novelist. It's quite simple, if you see as Janus sees: Today is now. Yesterday was now. Tomorrow will be now. Three hundred years ago, the eighteenth century was now. You, as a historical novelist, can make any time now by taking your reader into that time. Once you grasp that, the rest is just hard work. Stay with me, and you'll see how such work is done.

I really didn't write it with any intention of being published. If I'd known that was going to happen, I would have written something more sensible, because now I have to dress up as a pirate for book signings... I would have done a novel about a man who hangs around with a gaggle of models.

I remember an immense feeling of possibility at the idea, as if I had been ushered into a vast building filled with closed doors and had been given leave to open any I liked. There were more doors than one person could ever open in a lifetime, I thought (and still think).

I spent days and nights staring at the blank page, searching the deepest corners of my mind: who have I been, what have I seen, what did I learn? I thought about all the nights I've spent outside, all the times I laid down to cry and how I took a deep breath every morning and decided to simply go on. Because what else is there to do? Decide that this is it? I quit, I'm done? Oh if I could find words to justify those feelings I've carried. I could write the thickest of books with explosions of emotions from a young girl's lost heart. I could make you see, make you hear, make you feel, at least a tiny fragment of what's out there.

I think the best thing about being a writer is getting to dream. It's constantly viewing life through the "what if?" lens.

It is not my job to explain the story or understand the story or reduce it to a phrase or offer it as being a story about any specific person, place, or thing. My job is to have been true enough to the world of my story that I was able to present it as a forceful and convincing drama. Every story is a kind of puzzle. Many have obvious solutions, and some have no solution at all. We write to present questions, sometimes complicated questions, not to offer easy or not-so-easy answers. Do not be misled by the limited vocabulary the American marketplace uses to describe the possibilities for story and drama. If we’re really writing we are exploring the unnamed emotional facets of the human heart. Not all emotions, not all states of mind have been named. Nor are all the names we have been given always accurate. The literary story is a story that deals with the complicated human heart with an honest tolerance for the ambiguity in which we live. No good guys, no bad guys, just guys: that is, people bearing up the crucible of their days and certainly not always—if ever—capable of articulating their condition.

It is not easy to find the right way. You must learn to govern yourself, you must learn autonomy, you must manage your freedom or drown in it. You may strain the will after Experience because you need it for your books. Or you may perish under the heavy weight of Culture. You may make a fool of yourself anywhere. You may find illumination anywhere—in the gutter, in the college, in the corporation, in a submarine, in the library. No one man holds a patent on it. No man knows what it is likely to tell him to do.

It's possible, in a poem or a short story, to write about commonplace things and objects using commonplace but precise language, and to endow those things-- a chair, a window curtain, a fork, a stone, a woman's earring-- with immense, even startling power. It is possible to write a line of seemingly innocuous dialogue and have it send a chill along the reader's spine-- the source of artistic delight, as Nabokov would have it. That's the kind of writing that most interests me.

It's amazing that a man who is dead can talk to people through these pages. As long as this books survives, his ideas live.

It’s like adoring the open sea, the clash of elemental forces, the overpowering scale of water and sky, the sleek majesty of sloops, the billow of sail and pull of line—and wanting to study and pay homage to it all by building a model of a favorite boat—and then deciding to do it inside a bottle.

It's not about you, it's about the story. It's not about the folks who raise an eyebrow because you're not yet published or not yet J.K. Rowling. It's not about what that lady at church may think or, for that matter, the critics. It's not about the fact that you can't please everyone, and it's sure as heck not about the odds. In the immortal words of Gold Five, "Stay on target." You may or may not be the one who destroys the Death Star. But you're a hero if you get out of your own way, put it all on the line, and try.

It's not what you lift, it's where you carry it.

I turn sentences around. That’s my life. I write a sentence and then I turn it around. Then I look at it and I turn it around again. Then I have lunch. Then I come back in and write another sentence. Then I have tea and turn the new sentence around. Then I read the two sentences over and turn them both around. Then I lie down on my sofa and think. Then I get up and throw them out and start from the beginning. And if I knock off from this routine for as long as a day, I’m frantic with boredom . . .

Measure twice; cut once.

It wont do to say that the reader is too dumb or too lazy to keep pace with the train of thought. If the reader is lost, it's usually because the writer hasn't be careful enough.

Lucia Robson's facts can be trusted if, say, you're a teacher assigning her novels as supplemental reading in a history class. “Researching as meticulously as a historian is not an obligation but a necessity,” she tells me. “But I research differently from most historians. I'm looking for details of daily life of the period that might not be important to someone tightly focused on certain events and individuals. Novelists do take conscious liberties by depicting not only what people did but trying to explain why they did it.” She adds, “I depend on the academic research of others when gathering material for my books, but I don't think that my novels should be considered on par with the work of accredited historians. I wouldn't recommend that historians cite historical novels as sources.” And they sure don't. They wouldn't risk the scorn of their colleagues by citing novels. But, Lucia adds: “I think historical fiction and nonfiction work well together. … I'd bet that historical novels lead more readers to check out nonfiction on the subject rather than the other way around,” she says, and then notes: One of the wonderful ironies of writing about history is that making stuff up doesn't mean it's not true. And obversely, declaring something to be true doesn't guarantee that it is. In writing about events that happened a century or more ago, no one knows what historical ‘truth’ is, because no one living today was there. That's right. Weren't there. But will be, once a good historical novelist puts us there.

It wont do to say that the reader is too dumb or too lazy to keep pace with the train of thought. If the reader is lost, it's usually because the writer hasn't been careful enough

I will take any liberty I want with facts as long as I don't trespass on the truth...We confuse facts with truth.

Mortmain is an old French word that should be tattooed on the inside of any historical novelist's skull. This wonderful and terrible word means “dead hand.” Its definition is: “The influence of the past regarded as controlling the present.” (It is also used as a legal term with the same basic meaning.

Most of the ideas I’ve gotten for novels or screenplays have occurred to me while I was either shaving or taking a bath. A number have occurred to me while I was driving 127. I rarely get ideas when seated in front of my typewriter, which I find ironic because I have always suspected that typing somehow plays a key role in writing.

Most of us have a soundtrack running in the background of our lives. I access that soundtrack when I write.

Most historical accounts were written by fallible scholars, using incomplete or biased resource materials; written through the scholars' own conscious or unconscious predilections; published by textbook or printing companies that have a stake in maintaining a certain set of beliefs; subtly influenced by entities of government and society — national administrations, state education departments, local school boards, etcetera — that also wish to maintain certain sets of beliefs. To be blunt about it, much of the history of many countries and states is based on delusion, propaganda, misinformation, and omission.

Most writers sow adjectives almost unconsciously into the soil of their prose to make it more lush and pretty, and the sentences become longer and longer as they fill up with stately elms and frisky kittens and hard-bitten detectives and sleepy lagoons. This is adjective-by-habit - a habit you should get rid of. Not every oak has to be gnarled. The adjective exists solely as a decoration is a self-indulgence for the writer and a burden for the reader.

Most writers sow adjectives almost unconsciously into the soil of their prose to make it more lush and pretty, and the sentences become longer and longer as they fill up with stately elms and frisky kittens and hard-bitten detectives and sleepy lagoons. This is adjective-by-habit - a habit you should get rid of. Not every oak has to be gnarled. The adjective that exists solely as a decoration is a self-indulgence for the writer and a burden for the reader.

My reason for being an author? Because I love to write - it fulfills me. But the fact that I entertain others by doing it is a lovely bonus.