A Quote by Janet Fitch

You start realizing that good prose is crunchy. There's texture in your mouth as you say it. You realize bad writing, bland writing, has no texture, no taste, no corners in your mouth. I'm a great believer in reading aloud.
I've always felt that poetry was particularly erotic, more than prose was... I say that you read poems not with your eyes and not with your ears, but with your mouth. You taste it.
After awhile you realize that putting your actions where your mouth is makes you less likely to have to put your money where your mouth is.
Templeton was down there now, rummaging around. When he returned to the barn, he carried in his mouth an advertisement he had torn from a crumpled magazine. How's this?" he asked, showing the ad to Charlotte. It says 'Crunchy.' 'Crunchy' would be a good word to write in your web." Just the wrong idea," replied Charlotte. "Couldn't be worse. We don't want Zuckerman to think Wilbur is crunchy. He might start thinking about crisp, crunchy bacon and tasty ham. That would put ideas into his head. We must advertise Wilbur's noble qualities, not his tastiness.
There were a lot of lessons of production to be learned. On the page, the biggest thing you learn on any TV show is how to write to your cast. You write the show at the beginning with certain voices in your head and you have a way that you think the characters will be, and then you have an actor go out there, and you start watching dailies and episodes. Then, you start realizing what they can do and what they can't do, what they're good at and what they're not so good at, how they say things and what fits in their mouth, and you start tailoring the voice of the show to your cast.
I came to realize that far more important to me than any plot or conventional sense was the sheer directionality I felt while reading prose, the texture of time as it passed, life's white machine.
Although a crisp texture is the single most prized quality in an apple - even more desirable than taste, according to one study - crispness is more a matter of acoustics than of mouth feel.
In fact, quite a lot of what I do has to do with sound texture, and, you can't notate that. You can't notate the sound of "St. Elmo's Fire." There's no way of writing that down. That's because musical notation arose at a time when sound textures were limited. If you said violins and woodwind that defined the sound texture; if I say synthesizer and guitar it means nothing - you're talking about 28,000 variables.
The old injunction 'Don't talk with your mouth full' is based on the presumption that, however multifunctional a mouth may be, it should only perform one job at a time. Humans have found a way around this limitation in the form of food writing.
If you taste something, you're not at the maximum of your ability. What I think about in competition is temperature and texture. It has nothing to do with taste or emotion.
I regard texture similar to the function of taste buds in our mouths. But in a visual form. Texture does create a specific flavour which affects our senses.
Keep your mouth shut and see what's happening around you. Don't finish people's sentences for them. Don't just hear what they say, but also how they behave while they're saying it. That was great training for writing.
You don't always talk with your mouth. Sometimes what you say with your mouth hardly matters at all. You have to signify
I wonder is happiness only an essence of good living, that you shall taste only once or twice while you live, and then go on living with the taste in your mouth, and wishing you had the fullness of it solid between your teeth, like a good meal that you have tasted and cherished and look back in your mind to eat again.
I feel like one can have all of that as a writer; you're writing, you're reading, you're talking to interesting and intelligent people. Your life is structured around whatever book you're writing, and so is your reading and so are many of your conversations.
Teeth represent only 10 percent of the surface of your mouth and bacteria live throughout the whole mouth. When you stop brushing, bacteria left behind resettle on your teeth and gums. Oil pulling reaches virtually 100 percent of the mouth, thereby affecting all bacteria, viruses, fungi, and protozoa in the mouth.
You can't be a good person when you're writing and a bad person to your husband or a bad friend. You can't be a jerk in order to be a good writer. You can't say, "I'm too busy writing to be political." You are one person. You are the same person in every aspect of your life, and you have to be a responsible person in every aspect of your life.
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