Quotes of All Topics . Occasions . Authors
Dante Alighieri is a universal poet, and great creators, they are writing for everybody always. Every single verse is very moving, and the beauty - if we don't understand, we just stay listening to the sound and it's like hearing music.
There's only one reason why you write new songs: You get sick of the old songs. It's not that I didn't do anything during the time when I wrote no songs. I was creative, but in another way. I had ideas for songs and collected the ideas.
Usually when I put my focus on the pacing, the plot, the specific characterizations, - it's ironic - but then I actually increase my chances of writing something that moves people because I haven't become too self-conscious of the goal.
It is humiliating to remain with our hands folded while others write history. It matters little who wins. To make a people great it is necessary to send them to battle even if you have to kick them in the pants. That is what I shall do.
If I didn't know the ending of a story, I wouldn't begin. I always write my last lines, my last paragraph first, and then I go back and work towards it. I know where I'm going. I know what my goal is. And how I get there is God's grace.
If the world goes crazy for a lovely fossil, that's fine with me. But if that fossil releases some kind of mysterious brain ray that makes people say crazy things and write lazy articles, a serious swarm of flies ends up in my ointment.
I think I became a writer because I used to write letters to my friends, and I used to love writing them. I loved the idea that you can put marks on a page and send it off, and two days later, someone laughs somewhere else in the world.
So writing is not just writing. It is also having a relationship with other writers. And don't be jealous, especially secretly. That's the worst kind. If someone writes something great, it's just more clarity in the world for all of us.
The reason I started writing was because I was a little kid in San Diego who was getting beaten up by her dad and sexually abused and because I felt different than everybody else and I had this big huge secret that was tearing me apart.
The writer doesn’t write for the reader. He doesn’t write for himself, either. He writes to serve…something. Somethingness. The somethingness that is sheltered by the wings of nothingness — those exquisite, enveloping, protecting wings.
[J.Lo] found us a police car. Sort of. 'It's not a police car,' I said. 'It is,' said J.Lo. 'Looknow. Lights for flashing.' 'That's true.' 'Writing on the sides.' 'Yeah, but the writing? It says ''BullShake Party Patrol.'' Yes. Whatnow?
That name, SUN BEAR, just sounds like an ideogram to me. Super resonant. By the way, this all might be related to Tomaž Šalamun's famous line, "Every true poet is a monster." Or why Richard Hugo writes that the imagination is a cynic. T
Geisha because when I was living in Japan, I met a fellow whose mother was a geisha, and I thought that was kind of fascinating and ended up reading about the subject just about the same time I was getting interested in writing fiction.
That's another way of writing a song, of course. Just talking to somebody that ain't there. That's the best way. That's the truest way. Then it just becomes a question of how heroic your speech is. To me, it's something to strive after.
We write to expose the unexposed. If there is one door in the castle you have been told not to go through, you must. The writer's job is to turn the unspeakable into words - not just into any words, but if we can, into rhythm and blues.
I decided that it was not wisdom that enabled poets to write their poetry, but a kind of instinct or inspiration, such as you find in seers and prophets who deliver all their sublime messages without knowing in the least what they mean.
When I am writing political op-eds, I do think carefully about the impact of my words. When I am writing fiction, it's a different story. In my fiction I am more reckless. I don't care about the real world until I am done with the book.
Plot springs from character... I've always sort of believed that these people inside me- these characters- know who they are and what they're about and what happens, and they need me to help get it down on paper because they don't type.
The first thing you have to know about writing is that it is something you must do every day - every morning or every night, whatever time it is that you have. Ideally, the time you decide on is also the time when you do your best work.
In the past, I've felt like an outsider, with New York the center of everything literary, but right now, there are new opportunities being created that let us tell stories in the South, whether the medium is writing or TV or reality TV.
I don't think about age groups when I write, although I think if I know I'm writing for Children I'll be a bit more ambitious, and think more about every word, because I know that they pay closer attention when they read than adults do.
Yes, I, well, when I write, as often as I can, I try to write as if I'm talking to people. It doesn't always work, and one shouldn't always try it, but I try and write as if I am talking, and trying to engage the reader in conversation.
A major focus of 'Reality Hunger' is appropriation and plagiarism and what these terms mean. I can hardly treat the topic deeply without engaging in it. That would be like writing a book about lying and not being permitted to lie in it.
Writing, in any sense that matters, cannot be taught. It can only be learned by each separate one of us in his own way, by the use of his own powers of imagination and perception, the ability to learn the lessons he has set for himself.
I knew that I had to find out more about van Gogh. Even though I was far too young, and felt I did not have sufficient technique to write a book about Vincent van Gogh, I knew I had to try. If I didn't I would never write anything else.
For 'Boxers & Saints,' I started by reading a couple of articles on the Internet, then writing a really rough outline, then getting more hardcore into the research. I went to a university library once a week for a year, year and a half.
There are a number of World War II historians I admire: Cornelius Ryan, Mark Stoler, Antony Beevor, to name a few. As for generals, there are those I admire as combat leaders and others I admire because they're great fun to write about.
Writing a story I am just trying to find some little interesting thing to start out with: something small, even trivial. Preferably something that doesn't have a lot of thematic or political baggage - a little crumb that is interesting.
The "truth" is the poem itself. Just because someone writes a poem about a feeling she has does not mean that the feeling will stay forever. The truth of the emotion of the poem remains, even if the particular truth of the poet changes.
The Lord showed me by vision and revelation what would happen if we did not stop this practice... all ordinances would be stopped... many men would be made prisoners... I went before the Lord, and I wrote what the Lord told me to write.
I've always thought it was important not to attach too much superstition to the space where you're writing, because once you get into the mindset that you can only do it a certain way in a certain place, your creativity can get blocked.
You have to be free to play around with the notion that day might be night, love might be hate; nothing can be too sacred for the imagination to turn into its opposite or to call experimentally by another name. For writing is re-naming.
Eventually, I decided that if I was going to really write a novel, I couldn't do it in New York City while holding down a job. You need a constant money source to live in New York City unless you're independently wealthy, which I'm not.
I actually don't believe that everybody should necessarily try to learn to code. I think it's reasonably specialized, and nobody really expects most people to have to do it. It's not like knowing how to read and write and do basic math.
Editors, for the most part, don't care ''what'' you've done, or how astounding the physical event may have been. You need to write well. Many others are capable of doing what you have done (probably), so you must write better than they.
What you want to do is talk about ideas, you write a novel, you have a lecture about those ideas. Satire and comedy are really the only film mediums where you can get into ideas and have people leave the theater without being moralized.
If you really want to know about the future, don't ask a technologist, a scientist, a physicist. No! Don't ask somebody who's writing code. No, if you want to know what society's going to be like in 20 years, ask a kindergarten teacher.
My wife Cecily Adams was dying of cancer, my daughter Madeline was struggling to overcome an autism diagnosis, and my father was dying, all at the same time. Writing the journal was a cathartic experience, and an extremely positive one.
I am drawn to writing books about magic and the supernatural because those are the types of books I like to read. I've written many short stories with realistic settings, and I certainly wouldn't rule out realistic novels in the future!
Why not allow patrons to comment on directors' decisions, vote on costume design, listen to dancers' conversations, volunteer to help out in ways beyond just writing a check? They can see themselves as co-producers, not just bystanders.
Comics know that they do best. They might not be best to rewrite to another person's comedy, but they know what is best for them. Luckily, I come from both a writing background - with 'Workaholics' - and I also act in what I've written.
Most playwrights go wrong on the fifth word. When you start a play and you type 'Act one, scene one,' your writing is every bit as good as Arthur Miller or Eugene O'Neill or anyone. It's that fifth word where amateurs start to go wrong.
Comedy is serious - deadly serious. Never, never try to be funny! The actors must be serious. Only the situation must be absurd. Funny is in the writing, not in the performing. If the situation isn't absurd, no amount of joke will help.
My idea about collections is that you write as hard as you can for some period and what you're really doing during that time is hyper-focusing on the individual pieces - trying to make each one sit up and really do some surprising work.
When I wrote 'The West Wing,' the juice behind it was that in popular culture, our leaders in government are generally portrayed as Machiavellian, or as idiots. I thought, well, how about writing about a group of hyper-competent people?
Every time I try to write a song, when I sit down and think I'm going to write, I really want to write a song, and it never works out. It's always when it hits me unexpectedly on a plane or right before I go to bed, something like that.
If you have some other profession that allows you your evenings or weekends, terrific, stick with that. Having a profession other than writing also has the potential side benefit of providing you with material, something to write about.
All I know for certain is that reading is of the most intense importance to me; if I were not able to read, to revisit old favorites and experiment with names new to me, I would be starved - probably too starved to go on writing myself.
Ever since high school I've been writing in a spiral notebook, in pencil. Everything looks too polished on a computer when you start writing, and I can't really see it. I feel like the words are much more naked in pencil, on a notebook.
Sinclair Lewis was asked one time to give a talk to class of students about writing. When he got there he asked the class, Do you people want to be writers?and they all said yes. Then Lewis said, Why the hell aren't you at home writing?