A Quote by John Gardner
One must be just a little crazy to write a great novel. One must be capable of allowing the darkest, most ancient and shrewd parts of one’s being to take over the work from time to time.
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Many writers-in-waiting spend a lot of time avoiding the work at hand. The most common way to avoid writing is by procrastination. This is the writer's greatest enemy. There is little to say about it except that once you decide to write every day, you must make yourself sit at the desk or table for the required period whether or not you are putting down words. Make yourself take the time even if the hours seem fruitless. Ideally, after a few days or weeks of being chained to the desk, you will submit to the story that must be told.
The luxury of time to write, and the confidence to do so, make it easier for the more affluent and when the most decorated novels all begin to resemble each other the tacitly accepted view of what a good novel must be (and must be about) shifts imperceptibly.
The only time to take the step towards change is now. Even if they're baby steps, start today! Consistency is important because you must make time to work on your goals. Even if there is little you can do, you must!
I think too often you see parts being taken from one engine to go onto another... That's been too much of a theme over the whole hybrid era, and that must compromise dyno time, that must compromise endurance running, and so on.
The writer must face the fact that ordinary lives are what most people live most of the time, and that the novel as a narration of the fantastic and the adventurous is really an escapist plot; that aesthetically, the ordinary, the banal, is what you must deal with.
The bedrock nature of space and time and the unification of cosmos and quantum are surely among science's great 'open frontiers.' These are parts of the intellectual map where we're still groping for the truth - where, in the fashion of ancient cartographers, we must still inscribe 'here be dragons.'
I'm very picky when saying yes to a script. I take a very long time to decide myself because I spend a lot of time with this and so to take parts where I think I can take something from my life as well. It must be interesting for me.
We may be entering a new phase of history, a time when we begin to rediscover . . . the traditional teaching that power must entail restraint and responsibility, the ancient awareness that we are interdependent with all of nature and that our sense of community must take in the whole of creation.
I find it's very confusing when one critic tells you one thing and one tells you something completely different. Unless all the critics agree on parts of the play that just didn't work. I have stopped reading reviews, because I find writing is all about courage. You must have courage when you start writing a play and you cannot have the voice - you must write things out. You cannot have the voice of a critic telling you, "That didn't work in that play, you cannot make it work in another play." Every time you do a production, it's an experimentation.
I’m Lila, and yes, he’s crazy. But you must have noticed that before now. He was crazy back when I knew him, and he’s obviously gotten crazier over time.
The external appearance of any construction projects that are created during the time of the National Socialist Reich must take on the sensibility of our time. Factories are the workplaces of our National Socialist racial comrades. Streets and highways carry the name of the Führer. Settlements today are not isolated communities, but rather parts of greater city-construction plans. Every work site must be properly located within its neighborhood and surrounding setting (i.e., the natural world).
The time has already come when each country needs a considered national policy about what size of population, whether larger or smaller than at present or the same, is most expedient. And having settled this policy, we must take steps to carry it into operation. The time may arrive a little later when the community as a whole must pay attention to the innate quality as well as to the mere numbers of its future members.
To read a novel is a difficult and complex art. You must be capable not only of great fineness of perception, but of great boldness of imagination.
We must open our eyes to admire God who hides and at the same time reveals himself in things and introduces us into the realms of mystery... we must be pure and simple like children, capable of admiring, being astonished, of marveling, and being enchanted by the divine gestures of love and closeness we witness.
What must novel dialogue . . . really be and do? It must be pointed, intentional, relevant. It must crystallize situation. It must express character. It must advance plot. During dialogue, the characters confront one another. The confrontation is in itself an occasion. Each one of these occasions, throughout the novel, is unique.
If thinking is like perceiving, it must be either a process in which the soul is acted upon by what is capable of being thought, or a process different from but analogous to that. The thinking part of the soul must therefore be, while impassable, capable of receiving the form of an object; that is, must be potentially identical in character with its object without being the object. Mind must be related to what is thinkable, as sense is to what is sensible.
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