Quotes of All Topics . Occasions . Authors
You know, there are those writers who work at writing every day. I'm not one of those guys. I tend to work at varying levels of intensity, based on the amount of time and energy I have available.
I just simply write as it moves me. I may be writing about a book or a movie or a person, places where I've been or something I've done. Or politics. It's going to what's on my mind at the moment
The novel can't compete with cars, the movies, television, and liquor. A guy who's had a good feed and tanked up on good wine gives his old lady a kiss after supper and his day is over. Finished.
I'm always wondering what is the job that gives the writer the most amount of time to write. I still don't know what the answer is as someone who has taught and is now working at a grocery store.
An absolute joy to read - it stimulates and engages. Westney is asking new questions not addressed elsewhere . . . and you will be drawn in by the author's inviting, yet quietly compelling style.
And not only did this great consolidated ecclesiasticism assume to lord it over men's earthly treasures, but they lorded it over men's minds, prescribing what men should think and read and write.
I believe Jack Smith might have written THE BOOK on writing and revising for publication. Clean, direct, succinct--a book that is full of pure wisdom and truth, but also amazing technical advice.
I wouldn't describe myself as a do-gooder. That's really more my wife. I'm kind of just the obsessed guy who's been writing and making movies since I was a little kid, just in a room and make it.
I have a deep attachment to the natural world. It's a major influence on my writing, and as I look out over the wonderful snow-covered Santa Fe hills, I'm grateful for every day that I live here.
I have yet to have a successful outcome of sitting in a room with someone and trying to write a song. The way that I generally co-write is that someone else writes the music or part of the music.
I really had a great time working with Modest Mouse, just because of the people. I loved writing songs with Isaac Brock, and Jeremiah Green is probably my favorite musician that I've worked with.
Enduring fame is promised only to those writers who can offer to successive generations a substance constantly renewed; for every generation arrives upon the scene with its own particular hunger.
I have a hard time writing. Most writers have a hard time writing. I have a harder time than most because I'm lazier than most. I don't want to brag, but I'm the laziest person I have ever known.
I thought when I started writing that I'd have a book out in four or five years, and as it became apparent that that wasn't going to happen, I became increasingly frustrated and unsure of myself.
Through my former experiences, writing poetry and learning other languages leading up to English I find ways to stitch words together that may seem a bit odd, but somehow, sometimes they do work.
When I sit down to write a song, it's a kind of improvisation, but I formalize it a bit to get it into the studio, and when I step up to a microphone, I have a vague idea of what I'm about to do.
Both Rowling and Meyer, they’re speaking directly to young people. … The real difference is that Jo Rowling is a terrific writer and Stephenie Meyer can’t write worth a darn. She’s not very good.
I re-read a lot of my college writing while we were in rehearsals, and it was so strange. It was wonderful to go back and revisit that part of my life. It did kind of make me hungry for it again.
The poets are the standard bearers of language. Their work lives or dies word by word. When I write and can hear a clunky sentence, I try to write up to the poetry that I have recited beforehand.
In Endless Quest books, you start the plot, and the character has to make choices. Then you have to write one choice over here, one choice over there. The author might get one or two choices out.
I never laugh or smile when I am writing. When I come home for lunch after writing all morning, my wife says I look like I just came home from a funeral. This is not bragging. This is an illness.
I'm not good at happy, lightweight kind of music. I'm not really good at pop music. "Cars" is probably the only true pop song I ever wrote. I wish I could write more, but I'm not very good at it.
When I'm writing in long hand, it just goes on and on and on. When I was in the saloon business, I would just greet people and talk to them and avoid taxes, and getting behind the bar. What else.
Good editorial writing has less to do with winning an argument, since the other side is mostly not listening, than with telling the guys on your side how they ought to sound when they’re arguing.
You go back and look at some of the ancient writings that exist throughout the world about wars and it's the same; the human beings' articulation of events is the same. That really fascinated me.
Language is like a road, it cannot be perceived all at once because it unfolds in time, whether heard or read. This narrative or temporal element has made writing and walking resemble each other.
I write weird stories. I don't know why I like weirdness so much ... But when I write, I write weird. That's very strange. When I'm getting more and more serious, I'm getting more and more weird.
The writer writes about what happened in order to make it make sense, to put it in perspective, to turn it into art; and art becomes the vehicle on which we ride out the truth of our experiences.
The actual writing time is a lot shorter than the thinking time. I don't do too many notes. I keep it mostly in my head. I usually start writing a new book around January, and it's due October 1.
We can only connect the dots we collect, which makes everything you write about you... your connections are the thread that you weave into the cloth that becomes the story that only you can tell.
The ending has to fit. The ending has to matter, and make sense. I could care less about whether it's happy or sad or atomic. The ending is the place where you go, “Aha. Of course. That's right.”
I'd rather the handshake for somebody that I can trust than a contract. Because you can read the bloody contract - perhaps if you made a little bit of a mistake writing it - in a way to suit you.
I've never been that person who thought that because I've written one novel, I should write another and another. It's only when there was another novel to write that I was going to write another.
For me now, it's about what you would write and what you wouldn't write, and that's how I select what I am going to do. It can be quite nice being brought a concept by a studio for me to work on.
In comedy writing, a sitcom plot is basically the same thing: What's the worst thing that could happen? But you're playing it for comic effect. It's a similar muscle being used with Black Mirror.
As a filmmaker, I get compared to people who have no clue how to do anything, but because of some Internet writing, it looks like they would actually be better filmmakers. I think this is absurd.
We can never know that a piece of writing is bad unless we have begun by trying to read it as if it was very good and ended by discovering that we were paying the author an undeserved compliment.
Who is that blond child laughing as he runs after his colored marbles? [my marbles] It's me And who is the poet writing this poem? That blond child who laughed as he ran after his colored marbles
I'll write maybe one long paragraph describing the events, then a page or two breaking the events into chapters, and then reams of pages delving into my characters. After that, I'm ready to begin
I write five, six days a week. The thing is capturing the voice. I feel like I've been perfecting one voice - in different iterations, sure, but the Russian-ness has always been the undercurrent.
There's the underlying feeling that writing must be easy, because it's all about putting letters together. That's only true in the same way that programming is all about putting numbers together.
One night, Don Henley called, and I told him, 'I'm washing dishes and bike shorts.' He said, 'It's in the domestic exercises of life that one will find the biggest inspiration.' And he was right.
I stay glued to my piano and my work. I don't look up. I write, I produce, I do the next project, I do my job. I don't look up, and I try to be kind. I try to be kind to people. That's what I do.
I don't see one as bring better or more literate than the other and there's a real buzz to not only writing about a character I love like Superman, but also writing something that kids can enjoy.
[When you write a play] you walk into a forest without a knife, without a compass. But . . . if you have a sense of geography, you find that you're clearing a path and getting to the right place.
There's certainly more new SF available than when I started writing. That means there's also more bad SF available. Whether there is also more good is a matter for future historians of the field.
I use the music to vent, and a lot of the stuff that I am writing about or was writing about contained a lot of anger and anxiety, stress and depression, so that's how the album came out so dark.
Writing is always a process of discovery—I never know the end, or even the events on the next page, until they happen. There’s a constant interplay between the imagining and shaping of the story.
Good writing is often about letting go of fear and affectation. Affectation itself, beginning with the need to define some sorts of writing as 'good' and other sorts as 'bad' is fearful behavior.
I see no marks of Wordsworths style of writing or style of thinking in my own work, yet Wordsworth is a constant presence when I write about human beings and their relations to the natural world.