A Quote by Georg C. Lichtenberg

Nowadays three witty turns of phrase and a lie make a writer. — © Georg C. Lichtenberg
Nowadays three witty turns of phrase and a lie make a writer.
I've always liked older women. One sad thing about being my age is that there are no older women. I used to amuse my mother's friends even at five or six with witty turns of phrase. Somehow, I just knew how to be funny.
Old Madame du Deffand and her friends talked for fifty years without stopping. And of it all, what remains? Perhaps three witty sayings. So that we are at liberty to suppose either that nothing was said, or that nothing witty was said, or that the fraction of three witty sayings lasted eighteen thousand two hundred and fifty nights, which does not leave a liberal allowance of wit for any one of them.
As every writer knows... there is something mysterious about the writer's ability, on any given day, to write. When the juices are flowing, or the writer is 'hot', an invisible wall seems to fall away, and the writer moves easily and surely from one kind of reality to another... Every writer has experienced at least moments of this strange, magical state. Reading student fiction one can spot at once where the power turns on and where it turns off, where the writer writes from 'inspiration' or deep, flowing vision, and where he had to struggle along on mere intellect.
writers of novels are so busy being solitary that they haven't time to meet one another. But then, a writer learns nothing from a writer, conversationally. If a writer has anything witty, profound or quotable to say he doesn't say it. He's no fool. He writes it.
I don't think I'm a witty person. To me, a witty person is a funny person who is also a smart person. My friend David Rakoff, who died a few years ago, he was a witty person. Fran Lebowitz is a witty person. I don't think there are that many witty people around, so you tend to notice them when they do come around. I don't consider myself to be that.
People often ask how I can reject the phrase 'woman writer' and not reject the phrase 'Jewish writer' - a preposterous question. 'Jewish' is a category of civilization, culture, and intellect, and 'woman' is a category of anatomy and physiology.
Let us make war on the phrase 'violence doesn't solve anything.' It is a lie, and anyone who utters it cannot be taken morally seriously.
What lasts in the reader's mind is not the phrase but the effect the phrase created: laughter, tears, pain, joy. If the phrase is not affecting the reader, what's it doing there? Make it do its job or cut it without mercy or remorse.
I'm an aspiring writer. I hate that phrase. You're either a writer or you're not.
If there is one thing I think I have accomplished, it's that I always thought of myself as a very literal songwriter, and as I look at some of those older records, I don't hear it now the way I did when I was 20. I think it is undeniable that the songs have become more instantaneously descriptive and literal. I'd like the songs to be more storytelling, but also have the turns of phrase within them that would hopefully distance my writing from the pack. I feel like on those older records there are a lot of attempts at clever turns of phrase.
The walking of passers-by offers a series of turns and detours that can be compared to "turns of phrase" or "stylistic figures." There is a rhetoric of walking. The art of "turning" phrases finds an equivalent in an art of composing a path.
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 final lesson a writer learns is that everything can nourish the writer. The dictionary, a new word, a voyage, an encounter, a talk on the street, a book, a phrase learned.
Hardly anyone still reads nowadays. People make use of the writer only in order to work off their own excess energy on him in a perverse manner, in the form of agreement or disagreement.
[The Head of Radio Three] had been ensnared by the Music Director of the college and a Professor of Philosophy. These two were busy explaining to the harassed man that the phrase "too much Mozart" was, given any reasonable definition of those three words, an inherently self-contradictory expression, and that any sentence which contained such a phrase would be thereby rendered meaningless and could not, consequently, be advanced as part of an argument in favour of any given programme-scheduling strategy.
My goal as a songwriter now is to simply write some memorable turns of phrase.
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