Quotes of All Topics . Occasions . Authors
We are not nouns, we are verbs. I am not a thing - an actor, a writer - I am a person who does things - I write, I act - and I never know what I'm going to do next. I think you can be imprisoned if you think of yourself as a noun.
After working as a journalist I went to a writing program at Johns Hopkins. It was interesting because it was neither journalistic nor historical, but it emphasized writing style, and afterwards I was asked to write my first book.
'Now I've tasted chocolate I'm not going back'. That's a great line. That's not me, that's all the writing. I mean it's like it doesn't matter who plays it, it's a great role. It's such a funny, tongue in cheek kind of great role.
I'm into lately being a little less precious about writing and being like, "Okay, what if I just locked myself in my room, pretend that there's someone outside with a gun that's saying, 'Don't come out until you write something.'"
I never write. Never! I do not even remember if I can write … This is a true freestyle in general. I put a beat, I said some stuff, I retain ideas, I do it again, with a particular intonation, I test, and especially I record live.
Much of my inspiration definitely comes from the human experience. I'm really inspired by love like a lot of people are. My art, my childhood, and changes and transitions in life and how they impact me and cause me to write music.
I'm not a great deductive thinker, but I will admit to having competence in a very wide range of things - not being afraid to try to write about baseball, choral music and dinosaurs in the same week and see connections among them.
Most of us don't have to worry about being shot of we poke our noses outside. So we are comfortable, but the people I'm writing about are definitely not comfortable, and being shot while they're still inside is a good possibility.
Most of my writing friends are working in academia. Most of my business school friends are always talking about bringing companies public, and money, and making money, and lots and lots of money. It's just a different environment.
The best moment in writing any book is when you just can't wait to get back to the writing, when you can't wait to re-enter that fictional place, when your fictional town feels even more real than the town where you actually live.
I consider criticism merely a preliminary excitement, a statement of things a writer has to clear up in his own head sometime or other, probably antecedent to writing; of no value unless it come to fruit in the created work later.
I don't keep it secret that I live with my partner Gio. I'm very proud of my gayness. But there is lots I wouldn't want the press to write about me... it is a matter of regret that being gay is the most interesting thing about me.
I am a Leo. I was born in August and I love the sunshine. I'm like a cat. We live in a very contemporary house with windows all around it. Wherever a sunspot is, I go to it with my yellow pad and my fountain pen and I write there.
It doesn't matter whether the bride or the bridegroom writes the letters of thanks for wedding presents provided that these go out immediately after the arrival of each present and are not in the handwriting of the bride's mother.
I could speculate, but it would be just speculation and the kind of thing that you would get in with a science fiction story. And if I was doing a science fiction story then I would come up with what can go wrong with this system.
True Christianity, which will last forever, comes from the gospel words of Christ not from the epistles of Paul. The writings of Paul have been a danger and a hidden rock, the causes of the principal defects of Christian theology.
I write everything with fountain pens. I don't know why. I've done it since I was bar mitzvahed. I was given a fountain pen, a Parker fountain pen, and I loved it, and I've never liked writing anything with pencils or ball-points.
I hereby certify that the bearer of this note, Nikolai Ivanovich, spent the night in question at Satan's ball, having been lured there in a transportational capacity... Hella, put in parentheses! And write 'hog.' Signed- Behemoth.
I think of writing--particularly of writing picture books--as a kind of choreography. A picture book must have pace and movement and pattern. Pictures and text should, together, create the pattern, rather than simply run parallel.
I've been writing since I was six. It is a compulsion, so I can't really say where the desire came from; I've always had it. My breakthrough with the first book came through persistence, because a lot of publishers turned it down!
Well, I think some people are very happy in retirement. And in a year and a half I'm going to see how happy I feel in retirement. I'm just going to not work quite so hard, but I'll continue to write as long as God gives me breath.
When I was in college, I used to write little ditties and short stories and poetry for my friends. Writing a book is another thing. It is so much different from my traditional day of dirty fingernails and greasy hair and hot pans.
Even now, it's so funny how much we do have in common and how much her experiences were similar to mine. But I just wanted to be like 'If I'm going to do it, I'm going to write all of my own music, every lyric, and all this stuff.
Beyond the obvious facts that he has at some time done manual labour, that he takes snuff, that he is a Freemason, that he has been in China, and that he has done a considerable amount of writing lately, I can deduce nothing else.
The first point was we wanted power to determine our own destiny in our own black community. And what we had done is, we wanted to write a program that was straightforward to the people. We didn't want to give a long dissertation.
Armchair poverty tourism has been around as long as authors have written about class. As an author, I have struggled myself with the nuances of writing about poverty without reducing any community to a catalog of its difficulties.
I grew up in a household of women, they ran the show, they kept it all together. I credit my ability to write in female voices, as well as male, with having grown up with older sisters in a neighborhood largely populated by girls.
Sometimes I have a melody in my head; sometimes it's just a verse. I read lines from a book or movies that I watch and grab a few quotes and start writing on paper. From there, I record a really rough version and work on the song.
Shameless actually good since it gives a kind of freedom. We consider the old, functionless shame destructive. Today, if you have a strong sense of shame you also have a strong desire to overcome it. And that's when you can write.
Every time that I write a novel I am convinced for at least two years that it is the last one, because a novel is like a child. It takes two years after its birth. You have to take care of it. It starts walking, and then speaking.
From an over-arching point-of-view, in war there is heroism on both sides. Obviously, the victor gets the spoils, the victor gets to write history, but there's heroism and compassion on both sides, and to me that's very important.
All of a sudden, I sort of started to feel that I was constrained by the characters as opposed to enjoying them. And that remains for me to this day the line that I know where it's like, OK, you're not writing fan fiction anymore.
If you are going to be a writer there is nothing I can say to stop you; if you're not going to be a writer nothing I can say will help you. What you really need at the beginning is somebody to let you know that the effort is real.
The Holocaust is a central event in many people's lives, but it also has become a metaphor for our century. There cannot be an end to speaking and writing about it. Besides, in Israel, everyone carries a biography deep inside him.
Men are nuts. Young men are crazy. We all love toys. I'm toy oriented. I write about toys. I've got a lot of toys. Hundreds of things. But computers are toys, and men like to mess around with smart dumb things. They feel creative.
I just always wrote songs as a side hobby. So it was sort of a natural thing to write comedy songs. But when I started writing songs, I wrote very serious songs. Or things that a 13-14 year-old would think are very serious issues.
It is clear that when you write a story that takes place in the past, you try to show what really happened in those times. But you are always moved by the suspicion that you are also showing something about our contemporary world.
Just getting something to work usually means writing reams of code fast, like a Stephen King novel, but making it maintainable and high-quality code that really expresses the ideas well, is like writing poetry. Art is taking away.
No one I interact with - except maybe for family and strangers at the Russian baths and other weird places I may go to - is just friends or lovers with me: they also know something of my writing and this distorts their take on me.
What's more interesting are the dynamics between people that involve hypocrisy or ignoring each other. That's what I want to write about. I like to make people uncomfortable because it's something we should be uncomfortable about.
I think it would be cool if you were writing a ransom note on your computer, if the paper clip popped up and said, 'Looks like you're writing a ransom note. Need help? You should use more forceful language, you'll get more money.'
I'm pretty hardcore. I stick exactly to what I'm doing. So I write a novel in one period, and then I'll write stories in another period. I only work on one thing at once, because I'm afraid that I wouldn't finish what I'd started.
Writing is sort of putting a puzzle together halfway. Then, performing it has always been the completion of it. Once that happens, I'm feeling verbally communal with other people. It's out there and I feel so much better about it.
I suppose, the natural outgrowth about writing about two friends, it becomes about their friendship, and the complexities of it, and the way personality plays off each other, and what they each like to do, separately and together.
It’s all risk. And if it isn’t, it needs to be. The real trick is to find the risk that is right for you, a risk that doesn’t take you so far out of your own identity that it’s not a you that you recognize who’s doing the writing.
I know there's a lot of competition in the world of magazines and newspapers and we have to make headlines and be sensational and sell, and saying bad things about me is going to sell more papers than writing good things about me.
I think writers like to see how people bring their words to life, and it's always surprising. Always, no matter what, whether it's good or bad, it's always surprising because a whole human being is coming to that piece of writing.
The art of writing history is the art of emphasizing the significant facts at the expense of the insignificant. And it is the same in every field of knowledge. Knowledge is power only if a man knows what facts not to bother about.
As a writer, even as a child, long before what I wrote began to be published, I developed a sense that meaning itself was resident in the rhythms of words and sentences and paragraphs...The way I write is who I am, or have become.
A writer has to have some kind of compulsive drive to do his work. If you don't have it, you'd better find another kind of work, because it's the only compulsion that will drive you through the psychological nightmares of writing.