A Quote by William Zinsser
Readers must be given room to bring their own emotions to a piece so crammed with emotional content; the writer must tenaciously resist explaining why the material is so moving.
Related Quotes
We go into a relationship looking for love, not realizing that we must bring love with us. We must bring a strong sense of self and purpose into a relationship. We must bring a sense of value, of who we are. We must bring an excitement about ourselves, our lives, and the vision we have for these two essential elements. We must bring a respect for wealth and abundance. Having achieved it to some satisfactory degree on our own, we must move into relationships willing to share what we have, rather than being afraid of someone taking it.
the writer must resist this temptation [to quote] and do his best with his own tools. It would be most convenient for us musicians if, arrived at a given emotional crisis in our work, we could simply stick in a few bars of Brahms or Schubert. Indeed many composers have no hesitation in so doing. But I have never heard the practice defended; possibly because that hideous symbol of petty larceny, the inverted comma, cannot well be worked into a musical score.
A writer, or any man, must believe that whatever happens to him is an instrument; everything has been given for an end. This is even stronger in the case of the artist. Everything that happens, including humiliations, embarrassments, misfortunes, all has been given like clay, like material for one's art. One must accept it.
The first gay people we elect must be strong. They must not be content to sit in the back of the bus. They must not be content to accept pablum. They must be above wheeling and dealing.
Each piece of dialogue MUST be "something happening". . .The "amusing" for its OWN sake should above all be censored. . .The functional use of dialogue for the plot must be the first thing in the writer's mind. Where functional usefulness cannot be established, dialogue must be left out.
A writer - and, I believe, generally all persons - must think that whatever happens to him or her is a resource. All things have been given to us for a purpose, and an artist must feel this more intensely. All that happens to us, including our humiliations, our misfortunes, our embarrassments, all is given to us as raw material, as clay, so that we may shape our art.
For commercial books in a genre, readers' and editors' expectations may be fairly rigid. Some romance lines, for instance, issue fairly detailed writers' guidelines explaining exactly what must happen in a book they publish (and what must not).
The thought content of ghazals must be meaningful, related to life, it’s emotions of joy and sorrow. It must have the human touch, it should not be phoney.
I'm a reader. I found out that, whether you're a studio head or a director, you must read your own material. You can't rely on readers.
If AOL had ever ordered me to remove a piece of content from the site for any reason, I would have immediately written about it and disclosed the situation to our readers. And if I had ever ordered a writer to remove content, I would have expected that writer to have done the same to me.
A piece of material has a life. You must never upset it if you want the material to speak.
The psychological and physiological mechanism of love is so complex that at a certain period in his life a young man must concentrate all his energy on coming to grips with it, and in this way he misses the actual content of the love: the woman he loves. (In this he is much like a young violinist who cannot concentrate on the emotional content of a piece until the technique required to play it comes automatically.)
For the virtuoso, musical works are in fact nothing but tragic and moving materializations of his emotions; he is called upon to make them speak, weep, sing and sigh, to recreate them in accordance with his own consciousness. In this way he, like the composer, is a creator, for he must have within himself those passions that he wishes to bring so intensely to life.
This is the essential distinction--even opposition--between the painting and the film: the painting is composed subjectively, thefilm objectively. However highly we rate the function of the scenario writer--in actual practice it is rated very low--we must recognize that the film is not transposed directly and freely from the mind by means of a docile medium like paint, but must be cut piece-meal out of the lumbering material of the actual visible world.
The documentary photographer aims his camera at the real world to record truthfulness. At the same time, he must strive for form, to devise effective ways of organizing and using the material. For content and form are interrelated. The problems presented by content and form must be so developed that the result is fundimentally [sic] true to the realities of life as we know it. The chief problem is to find a form that adequately represents the reality.
Man's mind is his basic tool of survival. Life is given to him, survival is not. His body is given to him, its sustenance is not. His mind is given to him, its content is not. To remain alive, he must act, and before he can act he must know the nature and purpose of his action...To remain alive, he must think.
Related Authors
Ayn Rand Quotes
Russian
Writer
C. S. Lewis Quotes
British
Writer
Francois de La Rochefoucauld Quotes
French
Writer
Gilbert K. Chesterton Quotes
English
Writer
H. L. Mencken Quotes
American
Writer
Haruki Murakami Quotes
Japanese
Writer
Kurt Vonnegut Quotes
American
Writer
Leo Tolstoy Quotes
Russian
Writer
Mark Twain Quotes
American
Writer
Mason Cooley Quotes
American
Writer
Ray Bradbury Quotes
American
Writer
Samuel Johnson Quotes
English
Writer
Seth Godin Quotes
American
Writer
Sherrilyn Kenyon Quotes
American
Writer
Suzanne Collins Quotes
American
Writer