Quotes of All Topics . Occasions . Authors
And I do pay a lot of attention to how things feel underneath my feet. It's a way of transporting yourself somewhere that you're trying to write about - closing your eyes and imagining what it feels like to literally be in that space. Maybe because of this weird aura thing I find it a bit easier to put my body in an imaginary space.
I was taught to lie at a young age. . . . I think that [A PARK IN OUR HOUSE] describes what people make out of their reality in a totalitarian system like Castro's. They take flight and move into the imagination in order to transcend their immediate reality. I had to write this play. It helped me understand my own loss of innocence.
We haven't been on the same page in years. It is what it is. Sometimes that match burns out. So, no, I don't feel bad about it. It's good. I'm grateful for everything we have done throughout our careers and if there's nothing else to put out, then there's nothing to put out. I'm constantly writing and working. It doesn't stop there.
The discourse on the Text should itself be nothing other than text, research, textual activity, since the Text is that social space which leaves no language safe, outside, nor any subject of the enunciation in position as judge, master, analyst, confessor, decoder. The theory of the Text can coincide only with a practice of writing.
There's no subject you don't have permission to write about. Students often avoid subjects close to their heart ... because they assume that their teachers will regard those topics as 'stupid.' No area of life is stupid to someone who takes it seriously. If you follow your affections you will write well and will engage your readers.
I think that all people that get to a certain level of their celebrity are brands. I accept that. I don't value it in any personal way. I value it as an element of my work. I'm more pragmatic in that sense. I do get very rattled if I don't get enough normalcy in my life. I like solitude. I can't even write music if I'm not isolated.
Nietzsche's vision of the superman is of someone who's able to control and tame his passions and turn them into something richer than raw emotion and raw feeling. I think the best writing does that too. Untamed passion basically results in bad writing or bad polemics, which so many writers and public intellectuals are vulnerable to.
Stories about mental aberration and oddity only make sense in context. Just how do people live with someone who is peculiar, gifted, strange or alien? It's odd because there's a little part of me that wants to write about exotic, strange bizarre subjects. Instead, I've rather reluctantly realised that what I write about is families.
The song writing is different because with this stuff, I write it on my own and with Hot Water, we're more of a collective and I love both sides of that. Honestly, it's two different animals but I love and respect them both and feel really honored to be blessed with people who care about it and come out and support both sides of it.
A man writes to throw off the poison which he has accumulated because of his false way of life. He is trying to recapture his innocence, yet all he succeeds in doing (by writing) is to inoculate the world with a virus of his disillusionment. No man would set a word down on paper if he had the courage to live out what he believed in.
I write both, as you know, dozens of ecological and social scientific and historical works, dozens of novels. It's hard to describe a novel that grapples with the horrors of World War II as anything but grueling. But Codex Orféo is somehow...well, I hope, riveting for readers. Deeply provocative. Cinematic in a nearly surreal sense.
I`ve said this when I pass the trade promotion authority law, which allows us to get trade agreements. If we write the rules of the global economy, we will succeed in the 21st century. But we have to write those rules, we have to engage, and I think the president [Donald Trump] said Trans-Pacific Partnership is not the way to do it.
When we come to the Babylonian Gemara, we are dealing with what most people understand when they speak or write of the Talmud. Its birthplace, Babylonia, was an autonomous Jewish centre for a longer period than any other land; namely, from soon after 586 before the Christian era to the year 1040 after the Christian era - 1626 years.
A mind can be overthrown by words; that's the point. What is happening to the brain of a person who uses the passive, who writes, 'Delay should not be allowed to take place' instead of 'Hurry'? The user of the passive verb doesn't want a universe in which responsible agents do their acts. You see? Bad language ultimately is IMMORAL.
Aristotle writes that persuasion is based on three things: the ethos, or personal character of the speaker; the pathos, or getting the audience into the right kind of emotional receptivity; and the logos, or the argument itself, carried out by abbreviated syllogisms, or something like deductive syllogisms, and by the use of example.
During those times like in my early years as a writer I could actually write a song in ten minutes because all of a sudden a song is writing itself, I'm just putting down words. It just seem each line that you put down flows with the other ones. It's like writing a love letter you don't think about it, it's something from the heart.
If you feel like keeping a journal-that neither you nor anyone else on earth will ever want to read-be my guest. But if you want to write something that may eventually see the light of day, that a magazine might buy or a publisher publish, then you'll have to knock off the journaling and do the grunt work that real writing requires.
So in that way, fame has become a weirder thing to go after, but the thing about me is I've never been after fame. That sounds cliché, but it's true. I think fame sounds uncomfortable to me, but being able to like write this book and make my living doing very exciting, creative stuff sounds really amazing. It has been really amazing.
It's more like I write multiple first drafts, handwritten. So with my first novel, I wrote whole drafts from different points of view. There are different versions of that novel in a drawer on loose-leaf sheets. I won't even look at the first draft while I'm writing the second, and I won't look at the second before writing the third.
Tides of History provides a splendid prism through which we may view the wider world of Victorian science. . . . Historians of science will have cause to heap praise on this book, but so too will the non-specialists. The author's splendid writing style, at times appropriately Puckish, makes this work an accessible and enjoyable read.
I am never happy when I finish a book. I always start feeling good, and then I get to about Page 75 and start losing momentum - and I kind of pull it together at the end, but by then I think it's just all over. It's become almost a running joke among my agent and my editor - I always say that, so they don't take me seriously anymore.
The most important thing for me is that I've used my talents as a writer to enable the Ogoni people to confront their tormentors. I was not able to do it as a politician or a businessman. My writing did it. And it sure makes me feel good! I'm mentally prepared for the worst, but hopeful for the best. I think I have the moral victory.
To observe the world carefully, to write a lot and often, on a schedule if necessary, to use the dictionary a lot, to look up word origins, to analyze closely the work of writers you admire, to read not only contemporaries but writers of the past, to learn at least one foreign language, to live an interesting life outside of writing.
Before I decided to concentrate on writing, I drew pictures and painted, and made Super 8 experimental movies. I was the singer in three rock bands, and I wrote and staged and acted in plays for kids in my neighborhood. So I was kind of all over the place in my interests and far-flung in terms of where my creativity wanted to end up.
If you look at the best-seller list, it is mostly thrillers. Very few books attempt to create an image of the life we live. I knew there were writers who wore tweed coats and lived in Connecticut and somehow made a living, and that's what I aimed to do. I've tried to write as well as I can with books that say something to any reader.
I have always thought of poetry as an act of celebration. Just by nature of writing a poem you are taking the time to dwell on whatever it is that you're writing about...you can be celebrating anger, you can be celebrating sorrow... you are spending the time to focus and observe and try to understand the various parts of being human.
I am not sure I knew what I was doing, writing an "apocalypse" novel, when I started this book. Now that the book is done, I can own that I have in fact written an apocalypse novel, one that speculates on a dark, dark future. Why I did it, I really don't know - every time people read my work they comment on its darkness, its sadness.
All of modern acting comes from Stanislavski, who was the Russian partner to Chekhov. When Chekhov was writing his plays, Stanislavski was running his theater. And Stanislavski really was the first inventor of modern acting and then everything that came out of the method and Stella Adler and the great teachers really came out of him.
I am involved with 'Write Girl,' which is such a great organization, because they go into inner city schools and work with underprivileged girls to pair them up with other writers. And it gets them learning to express themselves and become familiar with their own voice. They have a 100% success ratio getting those girls into college.
That is the operatic problem; the singer must keep up a big head of steam while trying to appear secretive, or seductive, or consumptive. Some ingenious composer should write an opera about a group of people who were condemned by a cruel god to scream all the time; it would be an instantaneous success, and a triumph of versimilitude.
I think of fear as a survival function, and in the stories that I write, the only thing that I've tried to do is provide people with nightmares which are really safe places to put those fears for a while because you can say afterwards that uh, that, that well it was all just make-believe anyway, so I just took my emotions for a walk.
Writers shouldn’t underestimate the difficulty of what they’re doing, and they should treat it with great seriousness. You’re doing something that really matters, you’re telling stories that have an impact on other people and on the culture. You should tell the best stories you can possibly tell and put everything you’ve got into it.
For Dicey, writing in 1885, and for me reading him some seventy years later, the rule of law still had a very English, or at least Anglo-Saxon, feel to it. It was later, through Hayek's masterpieces "The Constitution of Liberty" and "Law, Legislation and Liberty" that I really came to think this principle as having wider application.
I enjoy both acting and screenwriting, in completely different ways. You have more creative freedom with writing because you can create everything that happens. But, as an actor you also have creative freedom because you don't so much focus on what has to move the story along, and only on how your character is reacting to situations.
Critics stopped being relevant when they stopped writing to inform and contextualize, and when they started writing to signal who they are, to display their identity by their stance on what they are writing about. Criticism should never be about the critic, but thats what it has become, and that’s why no one cares about them anymore.
My most recent novel didn't start out scaring me, but as I got deeper into writing it, it scared me. It's not so much where the story's going. It's where it came from. I always come out of it thinking, Okay, that got it all outta me. The next one's gonna be nice and simple, and it's not gonna scare me, and that never seems to happen.
The longer I've been writing scripts, the more I find that you have to give the artist more leeway or else you'll just be disappointed. You can't force them to draw every image that's in your head. Since I'm a horrific artist, I wouldn't want them to anyway. So I definitely give them a lot more leeway now than I did at the beginning.
I started writing when I was around 6. I say 'writing,' but it was really just making up stuff! I started writing and doing my own thing. I didn't really know what a demo was or anything like that, so I started getting interested in studio gear and started learning about one instrument at a time. My first instrument was an accordion.
Louis Brandeis actually changes his mind about women's suffrage because he works with these brilliant women in the women's suffrage movement like Josephine Goldmark, his sister-in-law, where he writes a Brandeis brief which convinced the court to uphold maximum hour laws for women by collecting all these facts and empirical evidence.
Science fiction is any idea that occurs in the head and doesn't exist yet, but soon will, and will change everything for everybody, and nothing will ever be the same again. As soon as you have an idea that changes some small part of the world you are writing science fiction. It is always the art of the possible, never the impossible.
There are people, of course, who profess to be libertarian Marxists. I believe they mean very well, and I even write in their periodicals; but I write very militantly that I regard Marxism as a very subtle form of what I would call the totalitarian ideology - all the more subtle because it professes to advance the notions of freedom.
I generalized rashly: That is what kills political writing, this absurd pretence that you are delivering a great utterance. You never do. You are just a puzzled man making notes about what you think. You are not building the Pantheon, then why act like a graven image? You are drawing sketches in the sand which the sea will wash away.
Writing books isn't a drastic departure from writing for the stage. I've always written in the long format, five, eight, 10-minute pieces rather than one-liners, so since writing books, the process hasn't changed much. A piece in my live routine can end up as part of one of my HBO specials, and it can also end up in one of the books.
remember a feeling of excitement, of sudden inspiration, when I was visiting Giovanni Boccaccio's home in the walled village of Certaldo, outside of Florence. (Boccaccio was the medieval author of The Decameron.) It was as though I had met my muse! After this trip, I read The Decameron and began writing the Alchemy Series in earnest.
Do you know how some people can do anything?” “What do you mean?” “I mean, you tell them to write a tune, they give you a symphony right there. You tell them to write a book, they write you a novel in a day. You tell them to move a spoon without touching it, they move it. If they want something, they make it happen. Miracles, almost.
You wind up creating from silence, like painting a picture on a blank canvas that could bring tears to somebody's eyes. As songwriters, our blank canvas is silence. Then we write a song from an idea that can change somebody's life. Songwriting is the closest thing to magic that we could ever experience. That's why I love songwriting.
When I write to you, I feel your breath; when you read them, I imagine you feel mine. Is it that way with you too? These letters are part of us now, part of our history, a reminder forever that we made it through this time. Thank you for helping me survive this year, but more than that, thank you in advance for all the years to come.
When I'm writing, I'm thinking, "Well, this might be a book that I'll always be happy with, and certainly readers will be happy with." But another part of me knows that when I'm past the stage of writing, the book is gonna have good things about it, bad things about it - probably more bad than good. I just know that. That's who I am.
Whenever I teach writing I tell them to never revise as you go. Finish the first draft. This is my writing advice. I can't do that myself. I'm lying to everybody. I write a paragraph, and then I rewrite that paragraph. I want to feel like I'm standing on firm ground before I move on to the next paragraph. Mentally, I have to do that.
I don't want to pick on Deutsche Bank, but I think the world of the regulated financial conglomerate, it is a strange thing. There is nothing in common between writing checks and running branch offices, issuing credit cards - those are good businesses, but they really have zero in common with M&A advice. They're a different customer.