A Quote by Rupert Friend
It's an imaginative thing we do; it's about immersing oneself in one's imagination. If you're a novelist, you do it with pen and paper. We do it with our bodies.
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My pen.’ Funny, I wrote that without noticing. ‘The torch’, ‘the paper’, but ‘my pen’. That shows what writing means to me, I guess. My pen is a pipe from my heart to the paper. It’s about the most important thing I own.
I love writing thank-you notes. There's something very nostalgic to me about the feel of a card and putting pen to paper. How many times in our lives are we required to put pen to paper anymore?
To be a novelist, all I need is a pen and a piece of paper.
Faulkner was the first novelist I read with pen and paper in hand because his technique stunned me.
I need paper and pen to release my imagination. I can't create on a machine.
I met, not long ago, a young man who aspired to become a novelist. Knowing that I was in the profession, he asked me to tell him how he should set to work to realize his ambition. I did my best to explain. 'The first thing,' I said, 'is to buy quite a lot of paper, a bottle of ink, and a pen. After that you merely have to write.'
Humans consist of body, mind and imagination. Our bodies are faulty, our minds untrustworthy, but our imagination has made us remarkable.
In addition to pumping the blood of life within our bodies, we may think of the heart as a belief-to-matter translator. It converts the perceptions of our experiences, beliefs, and imagination into the coded language of waves that communicate with the world beyond our bodies. Perhaps this is what philosopher and poet John Mackenzie meant when he stated, "The distinction between what is real and what is imaginary is not one that can be finely maintained ... all existing thing are ... imaginary."
I think a lot of times when people hear the word dance, they think 'oh, that's something that I can't do.' But dance really lives in our bodies and the thing that I've come to learn, embrace and lift up is that we have history in our bodies that's living and breathing. We have our own individual history but we also have our heritage. Each one of us has our movement language and it's about tapping into that and pulling that out. That's the thing that I try to encourage everybody because it's not about dance, it's about the movement and the gesture and how we honor it.
The poet's eye, in a fine frenzy rolling, doth glance from heaven to Earth, from Earth to heaven; and as imagination bodies forth the forms of things unknown, the poet's pen turns them to shape, and gives to airy nothing a local habitation and a name; such tricks hath strong imagination.
Muses are fickle, and many a writer, peering into the voice, has escaped paralysis by ascribing the creative responsibility to a talisman: a lucky charm, a brand of paper, but most often a writing instrument. Am I writing well? Thank my pen. Am I writing badly? Don't blame me blame my pen. By such displacements does the fearful imagination defend itself.
Psychology is action, not thinking about oneself. We continue to shape our personality all our life. To know oneself, one should assert oneself.
First, consider the pen you write with. It should be a fast-writing pen because your thoughts are always much faster than your hand. You don't want to slow up your hand even more with a slow pen. A ballpoint, a pencil, a felt tip, for sure, are slow. Go to a stationery store and see what feels good to you. Try out different kinds. Don't get too fancy and expensive. I mostly use a cheap Sheaffer fountain pen, about $1.95.... You want to be able to feel the connection and texture of the pen on paper.
I don't even own a computer. I write by hand then I type it up on an old manual typewriter. But I cross out a lot - I'm not writing in stone tablets, it's just ink on paper. I don't feel comfortable without a pen or a pencil in my hand. I can't think with my fingers on the keyboard. Words are generated for me by gripping the pen, and pressing the point on the paper.
When you will, make a resolution, set your jaw, you are expressing an imaginative fear that you won't do the thing. If you knew you would do the thing, you would smile happily and set about it. And this fear (since the imagination is always creative) comes about presently and you slide down into the complete slump of several weeks or years - the very thing you dreaded and set your jaw against.
Immersing oneself in the problems of a book is a good way to keep from thinking of love.
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