Quotes of All Topics . Occasions . Authors
People write about getting sick, they write about tummy trouble, they write about having to wait for a bus. They write about waiting. They write three pages about how long it took them to get a visa. I'm not interested in the boring parts. Everyone has tummy trouble. Everyone waits in line. I don't want to hear about it.
At its heartmeat core, writing is about exploring the questions of your heart on the assumption that what intrigues you, what inflames or amuses or ennobles you, will have the same effect on someone else. It's about taking chances, and taking risks, and pushing yourself to be honest in the issues that present themselves.
Isaiah is by far the finest and least objectionable of the seventeen prophets whose supposed productions form the latter part of the Old Testament. A distinctly higher moral tone appears in the writings called by his name, and this is especially noticeable in the 'Second Isaiah,' who wrote after the Babylonish captivity.
One thing that helps is to give myself permission to write badly. I tell myself that I'm going to do my five or 10 pages no matter what, and that I can always tear them up the following morning if I want. I'll have lost nothing-writing and tearing up five pages would leave me no further behind than if I took the day off.
Writing of history is our only heuristic principle. The Germans have a word for it, einfühlen. It is the ability to experience the past in the present and to recreate it. In my books, I have tried to recreate it in the most natural way possible: History must be integrated into the story without the weight of premonition.
My mother - my stepmother, really, she herself have been what they call an elocutionist. And she was the one who first encouraged me to write poetry, because she used to read it to us. And then when I began to write when I was nine years old, my first poem was published in the Amsterdam News. I called it "The Graveyard."
I'm not a person who writes really abstract things with oblique references. I look at abstraction like I look at condiments. Give me some Tabasco sauce, some ketchup, some mayonnaise. I love all of that. Put it on a trumpet. I've just got to have the ketchup and Tabasco sauce. That's my attitude about musical philosophy.
The movies are one of the bad habits that corrupted our century.Of their many sins, I offer as the worst their effect on the intellectual side of the nation. It is chiefly from that viewpoint I write of them - as an eruption of trash that has lamed the American mind and retarded Americans from becoming a cultured people.
I’ll write down little lines, I always say, 'K.T.N.,' and I say that to my receivers and running backs and that means 'keep taking notes.' That keeps me alert. That keeps me going. That keeps my drive there, even when you’re taking notes on something that you’ve already taken notes on a million times - keep taking notes.
I don't have personal experience and knowledge about anything but theater. I've been tutored very well on the subject, but ultimately I'm going back to the rules of drama. There are genres that I like as an audience member that I can't write as a writer. I can't write crime, and I like a good thriller as much as anybody.
The most important aspect of writing the pieces that make up this eighth book was yielding to my obsessive side, letting my own "complicated grief" in on the process. You can imagine how tempting it is to try to fight the part of you that loops and loops, caught up in tangled sorrow from which it seems there's no escape.
there are - as every one knows - two kinds of writing: one coming out of your vitals and the other from the top of your head. The first is the only sort from which any true private pleasure can be gained, for it is a way of getting something out of life which seemed to be there in childhood, when childhood is quite over.
Solitude is very different from a 'time-out' from our busy lives. Solitude is the very ground from which community grows. Whenever we pray alone, study, read, write, or simply spend quiet time away from the places where we interact with each other directly, we are potentially opened for a deeper intimacy with each other.
The other reason I didn't want to fictionalize it is because one of the main points of publishing a memoir in nonfiction was that I wanted to write about what had been a very lonely experience. The books that most saved my life as a kid were the ones that articulated lonely experiences that I had thought were mine alone.
I wasn't predicted to be anything. I just followed an inner spirit, and it put me in the right place and the right time. I didn't want to be the mayor of Atlanta. I didn't want to run for Congress. I didn't want to work for Martin Luther King Jr. I wanted to work close to him and be a writer and write about the movement.
If you tell certain people that you like Kerouac, they assume that's all you read, like you don't know anything else about literature. I recognize all the things that people dislike about the way he writes - his tone and the sentimentality of it all. But those books were there for me at a very important point in my life.
Everywhere I go - from villages outside Kandy, Sri Lanka, to community centers in Amman, Jordan, to offices at the State Department in Washington, D.C. - I find people with a similar story. When thousands of people discover that their story is also someone else's story, they have the chance to write a new story together.
For whatever reason, thus far it's been important to me not to write that kind of collection. Which means that I've spent months playing tic-tac-notecard, trying to get the stories in an order whereby stories that are similar in any given way (diction, narrative stance, setting, plot) are separated by others that aren't.
My favorite song he ever wrote was 'Cold Cold Heart.' If you think about it, the lyric to 'Cold Cold Heart,' see how many two syllable words are in that song. Very, very few. ... Verses and the choruses have very few two syllable words. 'I tried so hard my dear to show that you're my everything.' One three-syllable word.
You need to write a book, what's going on with my serve. It's disaster. I don't bend my legs. Instead of jumping forward, I'm kicking it too much instead of hitting it. ... I drop my head, I don't hold the left arm. It's so much, that you just - I don't know. I know this, and I'm still so stupid that I continue doing it.
I have not much faith in women in fiction.... Women are so horribly subjective and they have such scorn for the healthy commonplace. When a woman writes a story of adventure, a stout sea tale, a manly battle yarn, anything without wine, women, and love, then I will begin to hope for something great from them, not before.
'A Fair Maiden' existed in notes and sketches for perhaps a year. When I traveled, I would take along with me my folder of notes - 'ideas for stories.' Eventually, I began to write it and wrote it fairly swiftly - in perhaps two months of fairly intense writing and rewriting. Most of my time writing is really re-writing.
When you write a scene where somebody is afraid of something you instantly go to decades of genre cinema: horror, suspense, and thrillers. Those are very cinematic genres, when you shoot a close-up of someone and you can see fear in the person's face, or anticipation, or some kind of anxiety, it's a very cinematic image.
A poet has to adapt himself, more or less consciously,to the demands of his vocation, and hence the peculiarities of poets and the condition of inspiration which many people have said is near to madness... The problem of creative writing is essentially one of concentration... a focusing of the attention in a special way.
Whenever I felt tempted to, I don’t know, watch cat videos or bad Netflix TV instead of writing this Brandeis biography, I thought of his stern but kindly visage and buckled down and wrote the damn thing, because there’s so much information out there, and these are such anxious times in democracy, such unreasonable times.
Characters simply come and find me. They sit down, I offer them a coffee. They tell me their story and then they almost always leave. When a character, after drinking some coffee and briefly telling her story, wants dinner and then a place to sleep and then breakfast and so on, for me the time has come to write the novel.
You will write if you will write without thinking of the result in terms of a result, but think of the writing in terms of discovery, which is to say that creation must take place between the pen and the paper, not before in a thought or afterwards in a recasting... It will come if it is there and if you will let it come.
I started to write songs. And I started to like what I was writing. I think it's a new way for me to express things that are closer to myself than when I play a role, because, of course, it's really not me. I'm finding a new way. I don't know what it's going to be. But I know that I will need to give it to people one day.
Well a good writer writes, a good musician listens to a lot more than he actually composes, and if you're going to do lyrics - well, there's a Freudian slip. That's not even a slip, that's a Freudian move: I said going to do lyrics. If you really want it to ring true, you'll live it first. Go really get your heart broken!
I don't like anything unsigned in a newspaper that purports to be the opinion of some group if we don't know who the group is. It's laughable to say that The Miami Herald's editorials or any newspaper's editorials represent any views other than those of the people writing them, so why don't we tell everybody who they are?
Being in two full-time rock bands is pretty impossible. I love to tour but I have a dog and I want to see him. And, being a songwriter, you have to have experiences and do things. You can't just go on tour all the time, otherwise you get nothing to write about. It's finally at a point where the balance is perfectly right.
The seeming significance of nature's appearances, their unchanging strangeness to the senses, and the thrilling response which they awaken in the mind of man . . . If we could only write near enough to the facts, and yet with no pedestrian calm, but ardently, we might transfer the glamour of reality direct upon our pages.
But this same process of the old teaching the young can also cause errors and false conclusions to accumulate with the passage of time. One should therefore study ancient writings, not so much in the hope of finding lost wisdom as in the hope of locating the origin of errors that have been, and still are, accepted truths.
Do not write to impress others. Authors who write to impress people have difficulty remaining true to themselves. A better path is to write what pleases you and pray that there are others like you. Your first and most important reader is you. If you write a book that pleases you, at least you know one person will like it.
Even my wife and two of my children are in "Leaves of Grass". Because I love the source material so much, it was really easy to write and an utter delight to get to direct because I had people like Edward [Norton] elevating the material and surprising me in their interpretations of all of this stuff that's so close to me.
We're looking for stories that speak to us. We're looking for stories that connect us with something true. But, instead, a lot of the time we get strippers. All I'm saying is, when boys are writing the stories, the percentage of strippers is bound to go up. And real stories about real women kinda don't get written at all.
The primary thing writing and basketball share is the sense that each time you go out, each time you play or begin a piece, it's a new day. You can score 40 points one game, but the next game, those points don't count. You can win the Nobel Literature Prize, but that doesn't make the next sentence of the next book appear.
Woodworking requires a completely different kind of thinking and problem-solving ability than writing. With writing, you take a set of facts and ideas, and you reason your way forward to a story that pulls them together. With woodworking, you start with an end product in mind, and reason your way backward to the raw wood.
What I remove from my writing is linear context. It's not really important to me, because it doesn't give me chills to see, "you flip the latch and the lock opens and then you can open the top of the chest and inside the chest is this." That doesn't give me chills, to think in that vein. So I've always kind of avoided it.
Dialogue is generally the worst choice for exposition. When you're writing lines you need to focus on the way people actually talk. And when we talk to each other we never actually explain our terms. We don't say 'Sweetheart, would you pass me the sugar bowl, which we picked up for a song at that antique stall in Munich.'
I start songs all the time. If I weren't so lazy, I would finish them. It's like when I have a deadline I have to. I always feel very lucky that I am forced to make records at certain times. If I was forced to make 2 records a year, I would write twice as many songs. I can't make myself finish something unless I am forced
I'd love to act more. I've had to turn down multiple movies because I was on tour, but it's encouraging to know that someday there might be the right role, the right timing. And I've been writing a lot of music, so hopefully very soon I'll have recorded a project of my own. I also want to get a boat and open a restaurant.
Some writing is a really nice solitary process, in a way, because you can be a little self-conscious around other people. If it's just you, and you're at your favorite piano, or whatever instrument, and you feel comfortable, then somehow, I always feel like it's opening a door and letting whatever is to pass through pass.
Why did Ted Geisel end up writing and illustrating for young minds? He has specific imagery in the book, and we never would have moved beyond the discussion phase, if we couldn't have found an expression for The Lorax, dimensionally, that was true to the soul of what comes through in his simple line drawings, on the page.
All my plans in private life; all my pursuits; all my designs, wishes, and thoughts, have this one great object in view: the overthrow of the ruffian Boroughmongers. If I write grammars; if I write on agriculture; if I sow, plant, or deal in seeds; whatever I do has first in view the destruction of those infamous tyrants.
It is worth mentioning, for future reference, that the creative power which bubbles so pleasantly in beginning a new book quiets down after a time, and one goes on more steadily. Doubts creep in. Then one becomes resigned. Determination not to give in, and the sense of an impending shape keep one at it more than anything.
I tend to write things seven times before I show them to my editor. I write them seven times, then I take them on tour, read them like a dozen times on tour, then go back to the room and rewrite, read and rewrite... I would never show him a first draft, because then he's really going to be sick of it by the twelfth draft.
Jason [Moran] and John [Patitucci] and Eric [Harland] knew it was a Billie Holiday tribute. I'm sure they assumed it was going to be like another singer date, where we just have a bunch of charts and they write them down and they got paid and kind of moved on. There's nothing wrong with that, but it's not what I intended.
When we go to the Bible we should keep in mind that the basic principles of the Bible are taught by God, but written down by human beings deprived of modern day knowledge. So there is some fallibility in the writings of the Bible. But the basic principles are applicable to my life and I don't find any conflict among them.
My writing goal is just this desperation to get as much done as possible. It's never a comfortable, relaxed thing. Especially because I know so much of the story that I want to tell and I feel so far away from the end. Actually feels a hundred years away, and every hour I'm not working is another hour away from finishing.