A Quote by Flannery O'Connor

The idea of being a writer attracts a good many shiftless people, those who are merely burdened with poetic feelings or afflicted with sensibility. — © Flannery O'Connor
The idea of being a writer attracts a good many shiftless people, those who are merely burdened with poetic feelings or afflicted with sensibility.
For me, sensibility is the location of talent. Sensibility comes first because only with the right kind of sensibility is talent useful. I've met many people who are extraordinarily talented but have no capacity to go outside of themselves or their field. I love those people, but they would not succeed in our culture.
I can't use logic concerning my feelings, my feelings demand musical notes, violins, guitar solos, the stomping of feet, poetic language, metaphors, poetic lines about birds or deserts or tree-crowded forests.
I'm not a sketch writer. I know what I am: I have a sensitive comedic sensibility. What turns me on is subtle neurosis. That's my game. I'm not an action writer or a thriller writer and I'm not a sketch writer. I don't pretend to be those things. Then it would not be fun. Then you are in a space where this is painful.
The poetic sensibility was too good for this world, it was best to burn brightly and to die young like a shooting star.
Many times, what people call 'writer's block' is the confusion that happens when a writer has a great idea, but their writing skill is not up to the task of putting that idea down on paper. I think that learning the craft of writing is critical.
The past record of man is burdened with accounts of assasinations, secret combines, palace plots and betrayals in war. But in spite of this clear record, an amazing number of people have begun to scoff at the possibility of conspiracy at work today. They dismiss such an idea merely a conspiratorial point of view.
There's an old adage in writing: 'Don't tell, but show.' Writing is not psychology. We do not talk 'about' feelings. Instead the writer feels and through her words awakens those feelings in the reader. The writer takes the reader's hand and guides him through the valley of sorrow and joy without ever having to mention those words.
Natural objects themselves, even when they make no claim to beauty, excite the feelings, and occupy the imagination. Nature pleases, attracts, delights, merely because it is nature. We recognize in it an Infinite Power.
Many people don't know about the power of good feelings, and so their feelings are reactions or responses to what happens to them. They have put their feelings on automatic pilot, instead of deliberately taking charge of them.
I have no idea what a British sensibility or a British sense of humor is. I have no concept of what that is. I have no concept of what American sensibility is. I was born in Great Britain, but I was only there for six months, and we moved to Belgium, where I grew up. I love Britain, I lived there for nine years doing shows and things, but I don't know what a British sensibility is. I'd like to have someone tell me what an American sensibility is.
I would say that what we called the Pixar sensibility goes back even further. It is kind of a CalArts sensibility because so many of the people who are creative instrumental people at Pixar came from that school.
The idea of being productive, the idea of producing many books is going to lead you toward you becoming a better and better writer.
When I stepped into this world, I saw that we were all burdened by a certain kind of indifference to the plight of poor people. We were burdened by an insensitivity to a legacy of racial bias. We were tolerating unfairness and unreliability in a way that burdened me and provoked me.
Any sensibility which can be crammed into the mold of a system, or handled with the rough tools of proof, is no longer sensibility at all. It has hardened into an idea.
My plays are for the kind of black people who relate to funk music, to Parliament-Funkadelic. When those guys get out of a spaceship - the idea that black people are from outer space, there's a poetic truth to that. We are this vast people.
My plays are for the kind of black people who relate to funk music, to Parliament-Funkadelic. When those guys get out of a spaceship - the idea that black people are from outer space, theres a poetic truth to that. We are this vast people.
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