A Quote by Frederick Busch
If a writer is honest, if what is at stake for him can seem to matter to his readers, then his work may be read. But a writer will work anyway, as I do, and as I have, in part to explore this terra incognita, this dangerous ground I seem to need to risk.
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The ear is the only true writer and the only true reader. I know people who read without hearing the sentence sounds and they were the fastest readers. Eye readers we call them. They get the meaning by glances. But they are bad readers because they miss the best part of what a good writer puts into his work.
Perhaps the writer I've read the most of is Haruki Murakami, the Japanese writer, but I wouldn't necessarily say he's a favourite. I read him because I find his work so intriguing, but I don't necessarily feel I would follow this writer to the ends of the earth.
Create dangerously, for people who read dangerously. ... Writing, knowing in part that no matter how trivial your words may seem, someday, somewhere, someone may risk his or her life to read them.
If a writer understands his work as something that originates with him but then, with any luck, gets away from him, then what he needs is someone who can grasp the potential of the piece and lead him to that higher ground.
A great writer creates a world of his own and his readers are proud to live in it. A lesser writer may entice them in for a moment, but soon he will watch them filing out.
A great writer created a world of his own and his readers are proud to live in it. A lesser writer may entice them in for a moment, but soon he will watch them filing out.
[A writer] must try to think clearly, to feel deeply, to write honestly. If he is fortunate he will make a living, but his work will never be anymore essentially clear and deep and honest than he himself is, and he will be judged finally not for how many copies his books have sold, but for what they have done to enrich the lives of their readers, now and in time to come.
Henry Miller is a famous writer whose work has fallen out of fashion, but I strongly recommend that readers who don't know his work pick up a book and experience this writer's zealous, crazy, inventive, funny, sexy, often delirious prose.
The romantic idea is that everybody around a writer must suffer for his talent. I think a writer is a citizen of humanity, part of his nation, part of his family. He may have to make some compromises.
Often, you have to fail as a writer before you write that bestselling novel or ground-breaking memoir. If you're failing as a writer - which it definitely feels like when you're struggling to write regularly or can't seem to earn a living as a freelance writer - maybe you need to take a long-term perspective.
Missionary work will never be what it might be without the help of the members. Stake presidents need to feel some responsibility and ownership of missionary work. The stake president is the one who has the presiding priesthood keys over both the members and non-members in his stake. The missionaries are his helpers.
The poet needs a ground in popular tradition on which he may work, and which, again, may restrain his art within the due temperance. It holds him to the people, supplies a foundation for his edifice; and, in furnishing so much work done to his hand, leaves him at leisure, and in full strength for the audacities of his imagination.
In Randori we teach the pupil to act on the fundamental principles of Judo, no matter how physically inferior his opponent may seem to him, and even if by sheer strength he can easily overcome him; because if he acts contrary to principle his opponent will never be convinced of defeat, no matter what brute strength he may have used.
The faults of a brilliant writer are never dangerous on the long run; a thousand people read his work who would read no other; inquiry is directed to each of his doctrines; it is soon discovered what is sound and what is false; the sound become maxims, and the false beacons.
Let us remember that the central reality must be sought in the writer's work: it is what the writer chose to write, or was compelled to write, that finally matters. And certainly Mishima's carefully premeditated death is part of his work.
As a younger person, I was obsessed with Ray Bradbury, and I think his stories did more to shape me as a storyteller than anybody else - even though, when I read them now, a lot of them seem overly sentimental. But that's probably the writer that I've thought about the most, even though I don't necessarily like a lot of his work.
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