Top 233 Manuscript Quotes & Sayings - Page 3

All writing seems to me worse in the state of proof than in any other form. In manuscript one's own wisdom is rather remarkable to one, but in proof it has the effect of one's private furniture repeated in the shop windows. And then there is the sense that the worst errors will go to press unnoticed!

Characters are incredibly important, but I tend to build them around the plot during the outline stage. However, once I'm writing the manuscript, the characters I'm writing dictate how the plot unfolds.

You have to avoid what I call the 'smartest boy in class syndrome,' which is, just because you know it, you don't have to tell it. I often will go through a manuscript crossing stuff out, and say, 'This is just too much,' you know?

When you start writing a picture book, you have to write a manuscript that has enough language to prompt the illustrator to get his or her gears running, but then you end up having to cut it out because you don't want any of the language to be redundant to the pictures that are being drawn.

I think the best advice I got was to not worry about what other people would think while you were working on your first draft. Focus on getting it out of your head. You can always edit the manuscript later.

What the young writer is looking for is not a critic who will slap him on the back and say, 'Greatest thing since O. Henry,' but rather the one who will toss the manuscript down in disgust, with 'You know better than that! It's rotten! Do it all over again!'

J. K. Rowling's first 'Harry Potter' manuscript was rejected 12 times. Stephen King's 'Carrie' was rejected 30 times. 'Gone With The Wind' was rejected 38 times. I was immensely proud to have beaten them all.

I outline fairly extensively because I'm usually dealing with real events. I don't need to give myself as much information as I used to, but I still like to have two pages of outline for every projected 100 pages of manuscript.

So far, I've never missed a deadline for a term paper, a review, a manuscript. I perform the mumbo-jumbo of voting with belief in my heart, I've not yet won even a jaywalking ticket, and unlike my father, whom I fault in this respect, I refrain from opting out of jury duty; instead, they mostly kick me out.

Children ask better questions than adults. "May I have a cookie?" "Why is the sky blue?" and "What does a cow say?" are far more likely to elicit a cheerful response than "Where's your manuscript?" "Why haven't you called?" and "Who's your lawyer?"

Write a lot. And finish what you write. Don't join writer's clubs and go sit around having coffee reading pieces of your manuscript to people. Write it. Finish it. I set those rules up years ago, and nothing's changed.

Novels are completed when they are finished, but the memoir changes its own conclusion by virtue of being written... I was not at all the same person, when I handed the manuscript to the publisher, as I had been when I began. A memoir may always be retrospective, but the past is not where its action takes place.

I found a 'lost' manuscript called the Book of Soyga that had once belonged to Queen Elizabeth I's court astrologer, John Dee, in Oxford's Bodleian Library. Everybody thought it was the missing key to Dee's interest in magic. Of course, it wasn't really lost. It was there, in the catalog.

The writer marks the changes he wants to make, while a proofreader also goes through the galley, checking it page-by-page against the manuscript. Once all these changes are identified, a second-pass proof is made, and this, too, gets sent to the author and the proofreader, and the process begins anew.

I wanted to write; I sought all possible paths of personal liberation, but I could never sacrifice a living instant of life for the sake of a line to be written, my balance for the sake of a manuscript, a storm within me for the sake of a poem. I loved life itself too much for this.

Talking to Lee Child and discovering, from his chapter in The Chopin Manuscript, that he's even more of an audio geek than I am (as his chapter in Chopin proves).

I get like a melody that comes up and I try to write it down or record it. Hum it into a tape recorder or write it down on some manuscript paper. It could happen at any time, on the road or off the road, but mostly, you know, at home.

Once Donald Trump announced that Betsy DeVos was going to be his Education Secretary - a few months before I finished the manuscript - I had a pretty good idea of what was going to happen. He was going to overturn as much of what Barack Obama did, and the attendant social progress, as he could.

A number of years ago, when I had an exhibition of my work, the people in charge who came to pick up my manuscripts saw them piled up haphazardly in the garage and were shocked. 'What? They'll grow mold like this!' they said. People who do things properly apparently make a dedicated manuscript room, where they can control humidity.

In 1976, I read a book by Kathleen E. Woodiwiss and knew immediately that I, too, could write a historical romance. It took me a year to complete the manuscript. I was a forty-year-old Scarborough housewife who knew no one in publishing.

Usually, an author writes a manuscript that is handed in to the editor. The editor will then work with an art director to find just the right illustrator for the job, and off they go. Many times, the illustrator and author never meet.

You must keep sending work out; you must never let a manuscript do nothing but eat its head off in a drawer. You send that work out again and again, while you're working on another one. If you have talent, you will receive some measure of success - but only if you persist.

There are times when I'll send a manuscript to an editor, and I'll think it is the most likely project I've ever sent them. And they might call me the next morning and say they couldn't tolerate it. That happens so frequently that I've given up any expectation of knowing what anybody's going to like.

The most painstaking phase comes when the manuscript is set in 'type' for the first time and the first proofs of the book are printed. These initial copies are called first-pass proofs or galleys.

Sometimes I write less than I'd like but do research. Other times, editor's notes or a copy-edited manuscript or page proofs for a forthcoming novel mean that I need to put my attentions elsewhere for a day or two, but I always come back to writing.

The best young writers are convinced they need blurbs from famous writers before an editor will even read the first page of a manuscript. If this is true, then the editorial system that prevails today stinks. And let's start reforming it.

Whatever artistry may occur within the manuscript, the magic happens for me in the last draft. Whatever I have been resistant to say must finally be said. In the end, I see where my pencil has been leading me.

Thus there are two books from whence I collect my Divinity; besides that written one of God, another of his servant Nature, that universal and public Manuscript, that lies expans'd unto the eyes of all; those that never saw him in the one, have discovered him in the other.

Long before I fell in love with writing, I fell in love with reading. Sometimes, honestly, I feel like I'm cheating on my first love when I settle into my office chair to start work on the latest manuscript.

When I began writing in the mid-1960s, I thought it was not important for readers to know whether I was male or female. Also, I was a great admirer of E.B. White, so I may have thought that it would bring me luck to submit my first manuscript as 'E.L.' But if I were starting out today, I would use my first name.

I love all of my children equally, all of my printed books, and each one bears a special piece of me. But the one I'm most proud of is the one no one will ever see - the very first manuscript I ever wrote, back in 1990. It took me a year to do it.

I wrote one terrible manuscript after another for a decade and I guess they gradually got a little less terrible. But there were many, many unpublished short stories, abandoned screenplays and novels... a Library of Congress worth of awful literature.

If you're very serious about writing it's helpful to find an agent. It's becoming more and more competitive to have your manuscript even looked at by an editor. Many companies don't accept unsolicited manuscripts anymore, so they'll pay more attention to something that comes in through an agent.

Sometimes I have given my husband a manuscript to read that has turned out to have fantastic rave reviews and he'll tell me it is no good. Well, if I didn't know him as well as I know him I would be terribly depressed.

In A Life In Books, author and graphic design visionary Warren Lehrer crafts a vivid kaleidoscopic odyssey that frames one man’s life through not one, but one hundred different books—and book jackets... An unmistakably modern evocation of the illuminated manuscript.

I've been working on a collection of prose vignettes about girls I've had crushes on, from the age of six to the age of eighteen. This manuscript is thematic and organized in a way my poems about my friends aren't. My friends get into the poems simply because they mean a lot to me.

An author's ability to bring a marketing synopsis to the table - along with a great manuscript - makes a difference in what books get picked up. This is true for both fiction and nonfiction titles. You need to show your publisher what you've got in your marketing arsenal.

Don't wait for success, but for the respect and interest of those who read you. At the start it could be a classmate, someone who shares your interests. Before sending off the manuscript for a novel to a publishing house, it would be a good idea to try writing short stories, and publishing them in a local magazine.

I had actually finished the manuscript of 'The Wild Trees' and turned it in to Random House when all of a sudden word came. Michael Taylor and his colleague, Chris Atkins, another explorer, have just knocked one out of the park. They found the world's tallest tree. The tree is named Hyperion, 379.1 feet tall.

Anyone who's taken a lot of creative-writing classes, or taught creative writing, has learned to dread a certain kind of manuscript. It's long, for one thing. It has irritatingly small type; it's grammatically meticulous when it comes to everything but punctuation, for which it has developed its own system of Tolkienic elaboration.

If I'm not in an environment where I can record, it's great to be able to write something down, to be able to know how to do that, to be able to write notation. You grab a piece of paper and there it is. It's the cheapest recording equipment you can buy: a piece of manuscript paper and a pencil!

There's a fairy story called the 'The Shoemaker and the Elves' where this old cobbler keeps leaving leather out overnight and wakes up the next day, and there's a new pair of shoes. Co-authoring is a little like that. You send off the manuscript to your partner, and a few days later, you check your email, and hey, there's more book in here!

I don't mean to be flippant about cancer - it was hard, it was tough and it was scary. Then my next manuscript was about cancer because I had a whole new topic to write about. And because I wrote, it didn't take over. Writing took the chaos out of cancer.

As an editor, I read Charlotte Rogan's amazing debut novel, 'The Lifeboat,' when it was still in manuscript. I read it in one night, and I really wanted my company to publish it, but we lost it to another house. It's such a wonderful combination of beautiful writing and suspenseful storytelling.

If you're one of the hundreds of thousands of people out there toiling over your unpublished manuscript, trying to make your way across that vast ocean in a bathtub, I can only say this to you: keep paddling. Well, either that or start vlogging.

I wrote a great deal of a novel, 'Winter's Tale,' on the roof of a Brooklyn Heights tenement on Henry Street. I was a technical climber, and now and then I would put down my manuscript and get up to walk along parapets and climb walls and chimneys.

As an unpublished, nonprofessional writer working on my first novel, I nevertheless had access to extremely talented people who would help make my manuscript better, people who've made careers out of providing careful, constructive criticism to writers. I'm tremendously grateful to them.

In my office in Florida I have, I think, 30 manuscript piles around the room. Some are screenplays or comic books or graphic novels. Some are almost done. Some I'm rewriting. If I'm working with a co-writer, they'll usually write the first draft. And then I write subsequent drafts.

I always feel trepidation at the beginning of every project. I worry about so many things. Time to get it right, the skill to do it justice, the will to finish. I also worry about more mundane things, like what if my computer crashes and I've forgotten to back up the manuscript?

I've always worked at the piano; I like to hear what I'm doing, I like the sound, to hear the actual sound. I get bored just looking at a manuscript.

I remember going over proofs of this book - my first book - back in 2001, in a bar in Toronto called the 'Victory Cafe', and thinking sadly to myself, 'This is a very good manuscript but not a very good book.' I don't know what I meant by that, but I was pretty heartbroken and sure it was true.

Extemporaneous and oral harangues will always have this advantage over those that are read from a in manuscript: every burst of eloquence or spark of genius they may contain, however studied they may have been beforehand, will appear to the audience to be the effect of the sudden inspiration of talent.

When I have my manuscript finished, more or less, I type it myself, with two fingers. I type fast with two fingers. And then when it's ready, I reread, recorrect, and retype it. Everything is my own work. I do not give it to secretaries or to typists.

I love all of my children equally, all of my printed books, and each one bears a special piece of me. But the one Im most proud of is the one no one will ever see - the very first manuscript I ever wrote, back in 1990. It took me a year to do it.

There's never any humongous next draft. I know a writer who every time he finished a novel - you would know his name very well - but his editor would come and live with him for a month. And they would go through the manuscript together.

I feel sorry for people who have to edit me. Which is why book writing is by far the most enjoyable. Really the only thing it's based on is whether it's good or not. No book editor, in my experience, is getting a manuscript and try to rewrite it.

When I was growing up the publishing world seemed so far away. When my mother wrote a book, she would look up the address of publishers on the backs of the books she owned and send off her manuscript.

I revise the manuscript till I can't read it any longer, then I get somebody to type it. Then I revise the typing. Then it's retyped again. Then there's a third typing, which is the final one. Nothing should then remain that offends the eye.

I teach one semester a year, and this year I'm just teaching one course during that semester, a writing workshop for older students in their late 20s and early 30s, people in our graduate program who are already working on a manuscript and trying to bring it to completion.

In my office I have a sign that says, 'Don't think. Just write!' and that's how I work. I try not to worry about each word, or even each sentence or paragraph. For me, stories evolve. Writing is a process. I rewrite each sentence, each manuscript, many times.