A Quote by Fran Lebowitz
In conversation you can use timing, a look, an inflection. But on the page all you have is commas, dashes, the amount of syllables in a word. When I write, I read everything out loud to get the right rhythm.
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I discover poetry when I was in elementary school and I was so fascinated by it. Because I realised if you get the right amount of syllables and the right amount of words, in the right rhyme scheme and you put it all together. You make words just bounce of a page.
Everything I write, I read out loud. It has to sound a certain way. It has to look a certain way on the page.
Timing is so important! If you are going to be successful in dance, you must be able to respond to rhythm and timing. It's the same in the Spirit. People who don't understand God's timing can become spiritually spastic, trying to make the right things happen at the wrong time. They don't get His rhythm - and everyone can tell they are out of step. They birth things prematurely, threatening the very lives of their God-given dreams.
Reader's Bill of Rights 1. The right to not read 2. The right to skip pages 3. The right to not finish 4. The right to reread 5. The right to read anything 6. The right to escapism 7. The right to read anywhere 8. The right to browse 9. The right to read out loud 10. The right to not defend your tastes
You get used to the exact amount of space between lines. You write a word and then you write an alternate word over it. You want enough room so you can read it, so the lines can't be too close.
All reading was done in the early years out loud, there was no such thing as silent reading because you had to read out loud in order to figure out you know, where was a word ending and where is the word beginning.
Writing isn't just on the page; it's voices in the reader's head. Read what you write out loud to someone-anyone-and you will catch all kinds of things.
I'm usually more concerned with how things sound than how they look on the page. Some people write for the page, and that's a whole other thing. I'm going for what it sounds like right away, so it may not even look good on the page.
When you are writing a spoken word poem, the tools you're working with are your voice, your body, how it's going to sound to someone when you're saying it out loud. Which is different from when you're writing it on the page. That toolbox becomes how does this look visually on the page, how does this read among pages, how is this in relation to poems that are before it or after it. I don't think one is better or more successful than the other. You've just gotta think about "what are the tools I'm using, and how are they most effective in this form?"
I often write from memory by walking around and talking to myself. Even when I'm working at a computer I write out loud, so that I can hear the poem's rhythm.
I try to make the voice in my head come out onto the page. I try to make it much more conversational than other writing. I speak everything, so if something sounds right I write it. It's more about sound and the rhythm of speech than written language.
My kids will find me walking around the house talking to myself and think I'm going crazy. I like to read the scripts out loud and really get the rhythm for the dialogue.
Be honest, how hideous do I look?" He took another step back and pursed his lips. "That bad, huh?" I muttered. No, no Bella. Actually. . ." He seemed to be struggling for the right word. "You look. . .sexy." I laughed out loud. "Right." Very sexy, really.
Read! Read! Read! And then read some more. When you find something that thrills you, take it apart paragraph by paragraph, line by line, word by word, to see what made it so wonderful. Then use those tricks next time you write.
The way I write is that I'll actually have a conversation out loud with myself. In a weird way, I just kind of get schizophrenic and play two characters.
In the learned journal, in the influential newspaper, I discern no form; only some irresponsible shadow; oftener some monied corporation, or some dangler, who hopes, in the mask and robes of his paragraph, to pass for somebody. But through every clause and part of speech of the right book I meet the eyes of the most determined men; his force and terror inundate every word: the commas and dashes are alive; so that the writing is athletic and nimble,--can go far and live long.
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