A Quote by Lucy Calkins

Writing well has everything to do with being able to read one's own work with an eye toward the unmet possibilities that are there. — © Lucy Calkins
Writing well has everything to do with being able to read one's own work with an eye toward the unmet possibilities that are there.
Anyone who's read my 'Terror in the Skies' series knows that I have not been writing with an eye toward approval from any government agency.
I'm attracted to good writing. When I read the page and I know what we're after and where we're headed, and I'm fortunate enough to respect that idea and am able to pitch myself toward that, that feels like the culmination of everything that I've spent my life trying to do, since I played that tree in that play in third grade.
Well, I can't remember not being able to read. I was told I could read by myself very well at the age of three.
When I used to teach writing, what I would tell my playwriting students is that while you're writing your plays, you're also writing the playwright. You're developing yourself as a persona, as a public persona. It's going to be partly exposed through the writing itself and partly created by all the paraphernalia that attaches itself to writing. But you aren't simply an invisible being or your own private being at work. You're kind of a public figure, as well.
I haven't thought about writing so much as potentially producing and finding my own projects to get into production. I want to be able to buy the rights to a story that I have read or a book that I have read.
I don't spend time thinking about an aesthetic out of which I create or an ideal toward which my body of work is heading. It's amazing, when I read interviews with other poets, to see how articulately they discuss their own writing, as if they were sharing long-held theories on the work of Pope or Keats. I'm happy enough that I've poured the best of myself into the poems themselves.
I read less of everything now. With only fond memories of others' work, it will be interesting to give my own journal writing a try now.
Not being able to read and write music is not the same as being illiterate in speech and writing.
Read. Read. Read. Read many genres. Read good writing. Read bad writing and figure out the difference. Learn the craft of writing.
My work is not my life. I started writing quite late, I didn't have that 'writing is everything, my art is all.' You have to be able to recognise the difference between the two.
All the youth now in England of free men, who are rich enough to be able to devote themselves to it, be set to learn as long as they are not fit for any other occupation, until they are able to read English writing well.
Being a goalkeeper gives you quite a unique perspective on things. You are part of a team yet somehow separate; there are no grey areas, with success or failure being measured in real time; and you have a physical job which you can only do well by paying attention to your mental well-being. A great goalkeeper has to have the keys to a great mindset. To be able to work well in the box, I believe you have to be able to think outside the box
I read everything from comics to magazines to fiction - I learned to read in English, years before being able to speak a word of it, by reading 'National Geographic.'
Concentrate on a single feature - as, build all toward one eye - make all lines lead toward that eye.
After I quit being a lawyer in '95, I was having a lot of trouble writing. Then I read somewhere that Willa Cather read a chapter of the Bible every day before she started work. I thought, 'Okay, I'll try it.' Before each writing session, I started to read the Bible like a writer, thinking about language, character, and themes.
The more you read, the better you are at writing, no matter what you're writing. A lot of songwriters miss that and don't see the connection there, and I've always felt like you're more able to communicate if you have a bigger toolbox to work with.
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