Quotes of All Topics . Occasions . Authors
Having imagination, it takes you an hour to write a paragraph that, if you were unimaginative, would take you only a minute. Or you might not write the paragraph at all.
I find the public reaction to writing - it's fascinating in this modern age. Of course people are able to interact with me and email me, and I get quite a few I suppose.
I write in a slangy colloquial speech that has not been common in the Israeli tradition of writing, and that is one of the things that gets lost a little in translation.
The danger in writing about a world you don't know very well is that you can get lost in it, and sometimes I'll end up with a hundred pages I don't know what to do with.
I painted myself into a corner by writing a whole book on this one period. The summer of 1927 came to an end, but nothing else did - all of these peoples' lives went on.
I try to combine in my paintings cinematic feeling, emotional feeling, and sometimes actually writing on the page to combine all the different elements of communication.
You never get tired of making money, and you never get tired of a great acting gig, a same role that you can play for years, with wonderful writing and wonderful actors.
At first, I spend about four hours a day writing. Toward the end of a book, I spend up to 16 hours a day on it, because all I want to do is make it good and get it done.
I had e-mail in 1984! I had an e-mail address then, which means that all you could write to was Steve Jobs and Bill Gates. There were three of us, writing to each other.
I'm always writing to a younger version of myself, or a young woman who is like I was. I want that girl to know that I really existed and that it all went down that way.
A song doesn't just come on. I've always had to tease it out, squeeze it out. 'No thesaurus can give you those words, no rhyming dictionary. They must happen out of you.
Once in a while I catch myself wondering whether I would have found the courage to write if I had not started to write when I was too young to know what was good for me.
The hardest thing was learning to write. I was 13, and the only writing I had done was for Social Studies. It consisted of copying passages right out of the encyclopedia
It is simply much easier to infuse life, feeling, and higher truth into a novel than a non-fiction work, to find the license to write truth without being wedded to fact.
While I'm acting I'm focused on what I'm trying to say through the character. And when I'm writing, I'm just putting down on paper or on the computer what I have to say.
But a lot of writers - and I'm one of them - do tend to feel dissatisfied. It makes you a little hard to live with, but it's a goad and does keep you alert and restless.
I took temp jobs, recorded a demo in the evenings and eventually shopped a record deal. All I knew was that I wanted to write songs; thankfully, I also got to sing them.
No one likes to work for free. To copy an artist's work and download it free is stealing. It's hard work writing and recording music, and it's morally wrong to steal it.
As a songwriter, you respect and appreciate the writings of other people, and I often get asked, are there songs out there I wish I'd written? Yes. There's many of them!
I contend that in the kind of nonfiction I write, and that other people also pursue, anything is permissible provided the reader knows what you're taking liberties with.
I tell students they will know they are getting somewhere when a scene is so painful they can just barely bring themselves to write about it. A writer has to draw blood.
A part of my kind of design and inspiration ethos is that I carry around a leather notebook and I sketch in it, doodle in it, write notes in it and I put pictures in it.
The first book is the book you have to write to get back at your parents; the book you always had in you. Once you get that out of your way, you can start writing books.
I'm not a real good musician, but I can write [a song] pretty well. I experiment once in a while to see what I can do. I find out the best I can do is stay with ballads.
Every novel is an equal collaboration between the writer and the reader and it is the only place in the world where two strangers can meet on terms of absolute intimacy.
As I said, I had no publisher for What a Carve Up! while I was writing it, so all we had to live off was my wife's money and little bits I was picking up for journalism.
We are innately creative beings capable of writing a love story worth living, and we cannot afford to miss out on the opportunity to experience nourishing relationships.
I wring my hands because I know that as a dude, my privilege, my long-term deficiencies work against me in writing women, no matter how hard I try and how talented I am.
I remember writing a paper on human evolution in 1944, and I simply left Piltdown out. You could make sense of human evolution if you didn't try to put Piltdown into it.
Whenever I sat down to write something it was never anything I took lightly. It was something that I'd want you, somebody in Japan, and somebody [over there to hear it].
It was books that taught me that the things that tormented me most were the very things that connected me with all the people who were alive, or who had ever been alive.
If you mean do I use the guitar when I'm sitting at home writing stuff, then basically no, never. All I would ever write would be stuff that my fingers easily fall into.
Reading usually precedes writing. And the impulse to write is almost always fired by reading. Reading, the love of reading, is what makes you dream of becoming a writer.
For a short-story writer, a story is the combination of what the writer supposed the story would likely be about - plus what actually turned up in the course of writing.
I do not know what you are supposed to do with memories likes these. It feels wrong to want to forget. Perhaps this is why we write these things down, so we can move on.
Each time I had an internship to do or an essay to write, I would always do it in the field of cinema. Nobody in my family worked in film and nobody could understand it.
Occasionally people ask me how it is I write different types of things, and my answer to that is it's very natural. You get bored writing one kind of thing all the time.
Now, I don't expect what I write to change things. I think I write now simply as a witness. This is how it is. This is what we have done. This is what we have permitted.
When I write a song, I see a tunnel, and then the chorus is an open space, or the bassline is doing this shape. I see songs as a more of a geometric, spacial experience.
I've got to have something. I want to stop it all, the whole monumental grotesque joke, before it's too late. But writing poems and letters doesn't seem to do much good.
The only way you can control people is to lie to them. You can write that down in your book in great big letters. The only way you can control anybody is to lie to them.
...words are in a way our godly sharing in the work of creation, and the speaking and writing of words is at once the most human and the most holy business we engage in.
Scarlatti [Kirkpatrick] started writing sonatas when he was 66 and the idea that he ran off 500 or so after he was 66 was just too much for me to resist. It's just great.
For purposes of marketing, writers are designated as poets, novelists, or something else. But writing is about matchmaking, an attempt to marry sensations with apt words.
Just how difficult it is to write biography can be reckoned by anybody who sits down and considers just how many people know the real truth about his or her love affairs.
I'm just somebody who tries to write things that entertain people. And if I can do it in a way that makes them prefer to emulate the good guy than the bad guy, I'm happy.
I genuinely find it difficult to think of places that I'd never want to see again. It might be because part of my career has been concerned with writing about topography.
The purpose of writing is to inflate weak ideas, obscure pure reasoning, and inhibit clarity. With a little practice, writing can be an intimidating and impenetrable fog!
What we need is more women writers, writing for older women. There are some actresses who have production companies and create their own material, and I truly admire that
I'm a creative person and I use painting, acting, writing, writing songs, or whatever, as tools to just get a point across, in order to communicate a story or an emotion.