A Quote by Ruskin Bond

In my twenties, I wrote a lot of romantic stories in which I always lost the girl. — © Ruskin Bond
In my twenties, I wrote a lot of romantic stories in which I always lost the girl.
The first fiction I ever wrote was short stories. I was writing short stories in my late teens and early twenties, and I think it's how you teach yourself to write.
I used to write stories a lot because you had to fill your hours some other way than watching television. So my imagination was vivid, and I used to write a lot of stories. I wrote a novel, which I still have, which is so awful.
When I was growing up, my favorite movie was 'Somewhere in Time' with Christopher Reeve, which is a hugely romantic, sappy movie. I couldn't understand it when the guy didn't get the girl or the girl didn't get the guy in love stories. I was definitely a sap.
I wrote the very first stories in science fiction which dealt with homosexuality, The World Well Lost and Affair With a Green Monkey.
I was a cover artist for years. I didn't start writing songs until I was in my mid-twenties. I wrote them with John Leventhal, and they were pretty bad. I was in my late twenties when I wrote the first song with him that made any sense to me about what I was rooted in and what spoke for me as an artist. That was 'Diamond in the Rough.'
She had lost herself somewhere along the frontier between her inventions, her stories, her fantasies and her true self. The boundaries had become effaced, the tracks lost, she had walked into pure chaos, and not a chaos which carried her like the galloping of romantic riders in operas and legends, but which suddenly revealed the stage props: a papier-mâché horse.
There was Uncle Ken of mine about whom I wrote a lot of stories. I can always write stories about uncles and aunts and distant relatives. They have to be distant, though; otherwise, you'll be in trouble.
I am definitely romantic, and I love romantic stories - that's why I keep making romantic movies.
I always wrote as a vehicle for expression but did not try writing for publication until my mid-thirties, at which time I started writing for magazines. I wrote essays and then short stories, then moved into novels.
There's this romantic idea that's built up around war. But the pragmatic view is there are tons of people of my generation who have lost their lives, lost their marriages, or lost their health as a consequence of being sent to wars which could have been avoided.
I never like to put myself in the stories; in 'Lost in the City,' there are fourteen stories, and there's only one, 'The First Day,' about a little girl going to school, that has anything to do with me.
We've lost a lot of regard for straight forward news stories, and that has then been supplemented by comment, not even analysis, which has created a lot of celebrity journalists.
In France, you have 900 years of romantic love going back to the troubadours and minstrels that wrote stories of Lancelot and Guinevere. You have gallantry at the highest level.
She was witchy, yes, and in charge of a cauldron roiling with ideas and stories, but she always gave the impression that the stories, the ones she wrote and wrote so very well and so wisely, had simply happened, and that all she had done was to hold the pen. (On Diana Wynne Jones)
I wrote the story myself. It's all about a girl who lost her reputation but never missed it.
Stories matter. Stories are how we make sense of the world, which doesn't mean that those stories can't be stupid and simplistic and full of lies. Stories can exaggerate and offend and they always, always matter.
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