A Quote by Johnny Flynn

I find it hugely exciting to be dealing with another writer's language. — © Johnny Flynn
I find it hugely exciting to be dealing with another writer's language.
Generals often find a way of dealing with generals on the officer-to-officer level. In the hierarchy of the military and with the almost similar structure and similar language, they find a way of dealing with each other.
I believe that we must use language. If it is used in a feminist perspective, with a feminist sensibility, language will find itself changed in a feminist manner. It will nonetheless be the language. You can't not use this universal instrument; you can't create an artificial language, in my opinion. But naturally, each writer must use it in his/her own way.
I hope to have more time to think, to look at the sky, dealing with less crisis management, to learn another language, to travel.
There is another language beyond language, another place beyond heaven and hell. Precious gems come from another mine, the heart draws light from another source.
Never hesitate to imitate another writer - every person learning a craft or an art needs models. Eventually you'll find your own voice and will shed the skin of the writer you imitated.
He invented this idea of telling the life story of a great writer through becoming his characters and becoming him. It was such a pleasure and I thought we must find another writer.
Dr. Seuss provided "ingenious and uniquely witty solutions to the standing problem of the juvenile fantasy writer: how to find, not another Alice, but another rabbit hole.
For one person, Haydn is most exciting. Or Bach is the most exciting. For another, it's Carter or Strauss. For me - and for any musician - all of the music is exciting. And if you don't approach it with excitement, we can't be musicians.
As a kid, I dreamt of becoming a writer. My most exciting pastime was reading novels; in fact, I would read anything I could find.
It took a pretty drastic moment to shift my thinking towards visual arts. I got to a moment in my writing career when I wasn't trusting the language, I was really not trusting the written language, the English language. How do you work with a material that you don't have trust in? I had to step away from it and find another way of articulating and I had to do it without words.
We switch to another language-- not our invented language or the language we've learned from our lives. As we walk further up the mountain, we speak the language of silence. This language gives us time to think and move. We can be here and elsewhere at the same time.
It's hard to describe one's own alchemy that makes one into a writer, but I definitely think American language is so interesting, and specifically Southern language and black Southern language; it's hard to separate Southern language from black language.
The writer who cannot sometimes throw away a thought about which another man would have written dissertations, without worry whether or not the reader will find it, will never become a great writer.
Regardless of whether one is dealing with assembly language or compiler language, the number of debugged lines of source code per day is about the same!
If a novel is written in a certain language with certain characters from a particular community and the story is very good or illuminating, then that work is translated into the language of another community - then they begin to see through their language that the problems described there are the same as the problems they are having. They can identify with characters from another language group.
If you find yourself imitating another writer, that doesn't have to be a bad thing, especially if you are a young or a new writer. However, you should be conscious of exactly how you are imitating him - word choice, sentence structure, motifs? - and think about why you're doing it.
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