Quotes of All Topics . Occasions . Authors
Poetry privileges music and is aesthetically more challenging. Prose privileges information and is emotionally more challenging.
It has often been observed that the repercussion of poetic language on prose language can be considered a decisive cut of a whip.
If there's anything I'm keen to get better at in my writing, then it's the writing of prose as opposed to the writing of dialogue.
I don't do much of anything consciously in writing - in poetry writing, anyway, prose usually being a different matter, of course.
The process of composition, messing around with paragraphs and trying to make really good prose, is hardwired into my personality.
Writing a play, you have to retain it all in your head - you need more time. With prose, you can snatch an hour here, an hour there.
Prose exists to convey meaning, and no meaning such as prose conveys can be expressed as well in poetry. That's not poetry's purpose.
I want the concentration and the romance, and the worlds all glued together, fused, glowing: have no time to waste any more on prose.
The language of prose is very different than the language of cinema, so the movie has to successfully translate what was in the book.
Prose on certain occasions can bear a great deal of poetry; on the other hand, poetry sinks and swoons under a moderate weight of prose.
I'm a big admirer of Daniel Woodrell for his beautiful, precise, sparse prose - I don't do succinct well, so I'm in awe of writers who do.
What I do say is that I can write verse, and that the writing of verse in strict form is the best possible training for writing good prose.
I read a lot of autobiographical stories, and I write plays and prose. And I play piano and cello. A lot of my downtime is devoted to that.
Adverbs lead to overwriting. Try taking them out and reading your prose again to see how it sounds. Simple and less words are more powerful.
Unlike many other places, Hilo is more fascinating on closer acquaintance - so fascinating that it is hard to write about it in plain prose.
I believe so deeply in the primacy of language, in lifting your prose to the highest level you're capable of and making your words symphonic.
Poetry is fascinating. As soon as it begins the poetry has changed the thing into something extra, and somehow prose can go over into poetry.
If you have a good story idea, don't assume it must form a prose narrative. It may work better as a play, a screenplay or a poem. Be flexible.
When you finish a poem, it clicks shut like the top of a jewel box, but prose is endless. I haven't experienced an awful lot of clicking shut!
I really don't have a lot in common with the people who attend the Comic Con. It's like assuming that all people who write prose are the same.
A prose writer gets tired of writing prose, and wants to be a poet. So he begins every line with a capital letter, and keeps on writing prose.
I think, in reading a few sentences of text, you can just tell the tone, and that's something I love in prose writers but in lyricists as well.
On a piece of prose, you have to work at least six hours a day. I don't know how you can do that and teach and raise a kid and paint the house.
The notes I have made are not a diary in the ordinary sense, but partly lengthy records of my spiritual experiences, and partly poems in prose.
I have always tended toward a lush prose style, but I take care to modulate it from story to story and to strip it down entirely when necessary.
I like to write with a lot of emotion and a lot of power. Sometimes I overdo it; sometimes my prose is a little bit too purple, and I know that.
Root out all the "to be" verbs in your prose and bludgeon them until dead. No "It was" or "they are" or "I am." Don't let it be, make it happen.
I get asked a lot about writing for games and prose and film, and I will do some, but I can never see myself leaving comics. I love it too much.
Work on good prose has three steps: a musical stage when it is composed, an architectonic one when it is built, and a textile one when it is woven.
Why stick to just prose or just music or just newspaper or just video? Why not create new models for information that combine elements of them all?
Rachel Cusk's books are like pop-up volumes for grown-ups, the prose springing out of the page to bop you neatly between the eyes with its insights.
It is also true that one can write nothing readable unless one constantly struggles to efface one's own personality. Good prose is like a windowpane.
I think my prose reads as if English were my second language. By the time I get to the end of a paragraph, I'm dodging bullets and gasping for breath.
Of course, I have to consider that I've written a lot of prose, but I do in my heart think of myself as being originally, and still primarily, a poet.
I feel like I'm a natural-born playwright, but the prose thing has always mystified me. How to keep it going? How do people do it, for years and years?
Prose is admittedly an art rooted in social intercourse, and a fiction writer is faster to find a common denominator with his cell mates than a poet is.
Occasionally I find a travel book that is both illuminating and entertaining, where vivid writing and research replace self-indulgence and sloppy prose.
The decision to write in prose instead of poetry is made more by the readers than by writers. Almost no one is interested in reading narrative in verse.
The line is a way of framing poetry. All verse is measured by lines. The poetic line immediately announces its difference from everyday speech and prose.
'Swan,' by Mary Oliver. Poems and prose. Reading from this book is as if visiting a very wise friend. There is wisdom and welcoming kindness on every page.
Poetry is its own medium; it's very different than writing prose. Poetry can talk in an imagistic sense, it has particular ways of catching an environment.
No, I can't write treatments, I think there's a danger with treatments. That you... you write out your first excitement and enthusiasm in a prose treatment.
The atmosphere of orthodoxy is always damaging to prose, and above all it is completely ruinous to the novel, the most anarchical of all forms of literature.
The influence of cinema on all contemporary writers is undeniable. Because film is such a powerful and popular art form, we prose writers think cinematically.
Back in the 1980s, when I was a lowly editorial assistant by day and trying to be a novelist by night, no god reigned so supreme as the god of literary prose.
Every now and then I read a poem that does touch something in me, but I never turn to poetry for solace or pleasure in the way that I throw myself into prose.
Because, if one is writing novels today, concentrating on the beauty of the prose is right up there with concentrating on your semi-colons, for wasted effort.
For me, a page of good prose is where one hears the rain and the noise of battle. It has the power to give grief or universality that lends it a youthful beauty.
The Italian prose tale had begun to exercise that influence as early as Chaucer's time: but circumstances and atmosphere were as yet unfavourable for its growth.
He can develop sense and style, in the manner of distinguished modern prose, in which event he may be sure that the result will not fall into any objective form.