Quotes of All Topics . Occasions . Authors
We're always being told 'find your voice.' When I was younger, I never really knew what this meant. I used to worry a lot about voice, wondering if I had my own. But now I realize that the only way to find your voice is to use it. It's hardwired, built into you. Talk about the things you love. Your voice will follow.
I look at people like Picasso and Da Vinci and Escher and Miles Davis, and they'll write or paint that one definitive masterpiece of maybe 50 that they have that's really trying to go outside the box, trying to do something that's tough. And then when you accomplish it, you look back and go, 'Yeeaaaah - masterpiece.'
Unless a writer is extremely old when he dies, in which case he has probably become a neglected institution, his death must always be seen as untimely. This is because a real writer is always shifting and changing and searching. The world has many labels for him, of which the most treacherous is the label of Success.
I've worked for law firms, I've worked for corporations, and for the past 20 years, I've been writing working for myself, and believe me it's a lot better. That's a big part of the James Bond panache, that you're responsible, 100 percent responsible, for the success or failure of your mission in life, whatever it is.
I always feel super uncomfortable when it's like ah, there probably has to be a sex scene. I feel really bad and then always look around to see if anyone is watching me while I'm writing. I want to apologize to people who have to read those sex scenes, but I feel like it's part of the characters life, it's important.
It is safer to quote what is written than what is spoken. What a man writes it is fair to presume he believes as a matter of general conviction, but it is not so with what he utters in the freedom of conversation. In that he may only express the feeling of the moment, and not his settled judgment, or matured opinion.
My mother had died when I wrote my first book. I was twenty-seven, so it was right at the beginning of my writing life. I don't know if she had lived, if I would have done it, certainly not quite like I did. But, you can't rethink it. You wrote what you wrote, it meant something to other people, and that's your good.
One suggestion my wife and I have used in our personal finance courses we teach at college is simply writing down all expenditures and seeing where the money goes. That alone will cause heads of households to think twice about x, y or z expenditure, and to consider carefully whether they really need something or not.
Before I even knew what that half of my family did, I was interested in performing. I remember being seven years old and up on a stage and loving it. I've always adored it. Not just acting, but the whole process of writing and directing movies, everything that has to do with that part of life. Maybe it's in my blood.
I would like to fire every cop in America and start from scratch. We don't need as many of them, and the whole model of policing is completely off the rails. For the most part, the police are engaged in very little protection of the public. That's probably 5 percent of what they do. The rest of it is writing tickets.
It is absurd to imagine that any child will be able to earn a living, let alone contribute to resolving our world's complex problems, without knowing how to read and write. My foundation supports the National Writing Project so that teachers can be more effective in their efforts to improve literacy for all students.
There’s no way to really preserve a person when they’ve gone and that’s because whatever you write down it’s not the truth, it’s just a story. Stories are all we’re ever left with in our head or on paper: clever narratives put together from selected facts, legends, well edited tall tales with us in the starring roles
I started to write the song. And I was in Gladewater, Texas, one night with Carl Perkins and I said, I've got a good idea for a song. And I sang him the first verse that I had written, and I said it's called "Because You're Mine." And he said, "I Walk The Line" is a better title, so I changed it to "I Walk The Line."
And it was about then, about that time, that I began to find life unsatisfactory as an explanation of itself and was forced to adopt the method of the artist of not explaining but putting the blocks together in some other way that seems more significant to him. Which is a rather fancy way of saying I started writing.
To me, every episode is like a song, and every season is like an album. There's that part of the day when you first get the idea and you say, "This could be really funny." And you sit down and you write it. There's just something that happens there that doesn't happen when you really give it a lot of time beforehand.
Writing something down and processing it, sitting with a text and a story, editing and rewriting new drafts - that entire process helps clarify something for myself. Depending on the person, the act of trying to tell your story helps you understand yourself better, helps you come to terms with something that happened.
There are many ways of writing badly about painting... There is an 'appreciative' language of threadbare, not inaccurate, but overexposed and irritating words... the language of the schools which 'situates' works and artists in schools and movements... novelists and poets [that] see paintings as allegories of writing.
Our history has moved in that direction slowly at times but unmistakably thanks to generations of Americans who refused to give up or back down.Now you are writing a new chapter of that story. This campaign [2016] is about making sure there are no ceilings, no limits on any of us. And this our moment to come together.
Research is necessary. However, you need to make sure you don't fall into its trap. You need to have time left for writing. To avoid the trap, I just throw myself into the abyss while at the same time being aware that if I'm dealing with information I don't know enough about, I have to go to someone and talk about it.
I use Mac. Not because it's more secure than everything else - because it is actually less secure than Windows - but I use it because it is still under the radar. People who write malicious code want the greatest return on their investment, so they target Windows systems. I still work with Windows in virtual machines.
One of the few ways I can almost be certain I'll understand something is by sitting down and writing about it. Because by forcing yourself to write about it and putting it down in words, you can't avoid having your say on the subject. You might be wrong, but you have to think about it very intensely to write about it.
Well, Toronto, I consider to be the birthplace of my films. I've made three films and this is the third one to premiere here in the same theater on the same day at the same time - they are my audience. They're the people that I think about while I'm writing, directing, and editing. I specifically make movies for them.
The first five years as a writer, I didn't know how to write at all. I couldn't write my way out of a white paper bag. And yet, I did some remarkable things. And later on, there were periods where I got this mission to find an articulate voice with rewrites and all. There were periods where I was as dense as Faulkner.
The Blood of Heroes is surely the best account to date, one that presents plenty of new insights while acting as a corrective-or at least an alternative viewpoint-to previous accounts....Donovan combines that vital blend of authoritative scholarship with the vivid writing necessary to make an oft-told tale seem fresh.
Anais Nin shows an occasional grace in writing, but her work is quite foreign to me, precisely because she wants so much to be feminine and not feminist. And then she is so gaga before so many men. She talks about men I know in France, men who were less than nothing, and she considers them kings, extraordinary people.
The great thing about writing is that...you can do all these antisocial things and you get paid for them and nobody ever arrests you because they're all make-believe. Then that way if you were actually ever driven to do any of those things, the pressure's off because you'd have already written them down. It's therapy.
At its most basic we are discussing a learned skill (writing), but do we not agree that sometimes the most basic skills can create things far beyond our expectations? We are talking about tools and carpentry, about words and style... but as we move along, you'd do well to remember that we are also talking about magic.
It takes a certain kind of mind to narrate, to work through character motivation, to be unforgiving to one's writer-self when it comes down to creating the minutiae of detail. Writing fiction requires stamina, a sense of how people's lives work, how people work toward and against one another and, above all, precision.
It's more like you write what comes to you... You try to reflect the mood of the songs. Take 'Rearviewmirror', we start off with the music and it kinds of propels the lyrics. It made me feel like I was in a car, leaving something, a bad situation. There's an emotion there. I remembered all the times I wanted to leave.
My forte is playing along and singing along to music I love. I mean, who knows, maybe I could develop that knack or develop that ability to write, and I do actually co-write with people and friends, which is fun, too, because then I don't have to worry about writing lyrics, because for me writing lyrics is impossible.
And I wanted to do a movie [Moonrise Kingdom] about a childhood romance - a very powerful experience of childhood romance. About what it's like to just be blindsided, when you're in fifth grade or sixth grade, by these kinds of feelings. Along the way, I sort of mixed in some interest in "young adult fantasy" writing.
I have learned that my assignment is to write books for people who do not like to read books. I really try to connect with people who are not given to spending a lot of time with an open book. Pay day to me is when somebody comes up to me and says, "I never read books but I read yours." I have a heart for that person.
I have never heard a dancer asking for advice about how to stay focused on her footwork, or a painter complaining about the dull day-to-day task of painting. What task worth doing isn't worth daily effort? Do you think Michelangelo was having fun the whole time he was on his back painting the Sistine Chapel's ceiling?
As an architect, I try to be guided not by habit but by a conscious sense of the past-by precedent, thoughtfully considered...As an artist, I frankly write about what I like in architecture: complexity and contradiction. From what we find we like-what we are easily attracted to-we can learn much of what we really are.
I think some of the best sex writing is going to come from the unexpected sources, not the same old same old. Like I'd love to see a memoir by a submissive man, because we've seen one from a professional submissive and dommes and strippers and hookers. I'd love to see more men writing frankly, not jokingly, about sex.
I think I always thought of the guitar as the vehicle to be able to make some musical idea up. The only appeal to learning more chords was having more chords to put into songs. I never got too wrapped up in becoming technically good. So writing songs happened pretty simultaneously with learning how to play the guitar.
'We live' writes Pursewarden somewhere 'lives based upon selected fictions. Our view of reality is conditioned by our position in space and time — not by our personalities as we like to think. Thus every interpretation oа reality is based upon a unique position. Two paces east or west and the whole picture is changed.
I have for a long time loved fabulist, imaginative fiction, such as the writing of Italo Calvino, Jose Saramago, Michael Bulgakov, and Salman Rushdie. I also like the magic realist writers, such as Borges and Marquez, and feel that interesting truths can be learned about our world by exploring highly distorted worlds.
I think those women who get themselves to write essays, it's not an easy thing to do because as women, you're not encouraged to think; you're encouraged to feel. This is a broad, broad statement. So I think those women who go out on a limb and publish essays are highly conscious of how they are writing their opinions.
There was a great push and pull of what Blink-128 should sound like all the time. Travis Barker comes from a different background than I do, and Tom DeLonge comes from a different background than either of us in terms of what we write and what we think a song should be. Tom pushes me out of a box that I put myself in.
I absolutely think that women told that writing about themselves is somehow not worthy enough for a public audience all the time. I hear it so often from my students and friends. As if it doesn't take rigorous craft, and intellectual acuity to write a slammin' book of any kind. But perhaps, especially, about the body.
For me going to war offers me the ability to write about apparently very alien, sometimes hated or despised people, who've been objectified in a way that restores their humanity. Hopefully for my readers, that denies them the ability to objectify them. I think that's the point. If you can do that, that's a good thing.
It’s a job. It’s not a hobby. You don’t write the way you build a model airplane. You have to sit down and work, to schedule your time and stick to it. Even if it’s just for an hour or so each day, you have to get a babysitter and make the time. If you’re going to make writing succeed you have to approach it as a job.
I was writing a scene where a guy was choking another guy to death. You can go online and type 'chokeholds' and watch scenes where martial artists choke each other out. You can hear what noises they make when they go unconscious, see how their bodies flop and everything. YouTube is amazing for the more detailed stuff.
There's a great joy in writing about a place you know very well, but there's also a lot of responsibility in trying to be accurate. It's a lot like writing about a relative: you can see both their strengths and their shortcomings, and even as you want to be honest, you want people to see the good that's there as well.
Discovery still happens in the writing. You start in nonfiction with a whole lot more going for you, because all the discovery isn't waiting to be made. You've made some of it in the research. As you get deeper into a piece and do more research, the notes are in the direction of the piece - you're actually writing it.
Right now in American writing there is no genre as exciting as memoir - the writer can do anything, as long as it works. It's like the 1920s up in this joint. So, I'd say, experiment with how you tell the story. In the best memoir it's not the what, it's how the writer tells the what - meaning and effect through form.
Maybe it goes without saying that if you want to become a famous writer before you’re dead, you’ll have to write something. But the folks in my classes with the biggest ideas and the best publicity shots ready to grace the back covers of their best-selling novels are also usually the ones who aren’t holding any paper.
Now we really like to put people in boxes. As men, we do it because we don't understand characters that aren't ourselves and we aren't willing to put ourselves in the skin of those characters and women, I think, terrify us. We tend not to write women as human beings. It's cartoons we're making now. And that's a shame.
I've always had this interest in sibling relationships because I don't have any siblings. I'm completely a product of the one-child policy in China, so I always kind of wished that I had an older brother or a younger brother or sister just to have that bond, so I find myself constantly writing about that relationship.