A Quote by William Zinsser

Not everybody has a talent for painting, or for the piano, or for dance. But we can write our way into the artist's head and into his problems and solutions. Or we can go there with another writer.
To note an artist's limitations is but to define his talent. A reporter can write equally well about everything that is presented to his view, but a creative writer can do his best only with what lies within the range and character of his deepest sympathies.
It's akin to style, what I'm talking about, but it isn't style alone. It is the writer's particular and unmistakable signature on everything he writes. It is his world and no other. This is one of the things that distinguishes one writer from another. Not talent. There's plenty of that around. But a writer who has some special way of looking at things and who gives artistic expression to that way of looking: that writer may be around for a time.
Why was the painting made? What ideas of the artist can we sense? Can the personality and sensitivity of the artist be felt when studying the work? What is the artist telling us about his or her feelings about the subject? What response do I get from the message of the artist? Do I know the artist better because of the painting?
The romantic idea is that everybody around a writer must suffer for his talent. I think a writer is a citizen of humanity, part of his nation, part of his family. He may have to make some compromises.
No one is an artist unless he carries his picture in his head before painting it, and is sure of his method and composition.
Find something you like, go into a room, close the door and read it aloud. Read it aloud. Everybody in the world who likes dance can see dance, or hear music, or see art, or admire architecture - but everybody in the world uses words who is not a recluse or mute. But the writer has to take these most common things, more common than musical notes or dance positions, a writer has to take some adverbs, and verbs and nouns and ball them up together and make them bounce.
I come from a council estate in Tower Hamlets, and by no means am I the only person who has done well - one of my friends is head of year in a great school in Twickenham. Another is a writer; another is an artist, a musician.
I grew up painting and playing piano so when I was a little kid I thought I was going to be an artist or a painter but my mom had me taking piano lessons for about 10-12 years as a young kid.
If you want to be an artist, you have to know that art is an ongoing practice, that you're part of a long line. Take this test: if someone offered you a billion dollars, but you could never draw another illustration or write another word, would you take it? If you reject it, you need to find another way to pay the bills, but you're still an artist.
I have spent a good many years since?too many, I think?being ashamed about what I write. I think I was forty before I realized that almost every writer of fiction or poetry who has ever published a line has been accused by someone of wasting his or her God-given talent. If you write (or paint or dance or sculpt or sing, I suppose), someone will try to make you feel lousy about it, that's all.
I think an artist, in my definition of that word, would not be someone who takes sides with the emperor against his powerless subjects. That's different from prescribing a way in which a writer should write.
The director is the most overrated artist in the world. He is the only artist who, with no talent whatsoever, can be a success for 50 years without his lack of talent ever being discovered.
Everybody has a talent, whether it's scrapbooking, or kite-flying, or brain surgery, or writing, everybody has a talent. And if they discover it, and they turn it to their purposes and make a living out of it, then they become not "that person," but they become "that writer" or "that doctor" or "that supervisor."
I wouldn't even go spend the night at a friend's unless they had a piano. But I didn't have the chops, the extraordinary talent, to be able to play the piano professionally.
To write with taste, in the highest sense, is to write [...] so that no one commits suicide, no one despairs; to write [...] so that people understand, sympathize, see the universality of pain, and feel strengthened, if not directly encouraged to live on. If there is good to be said, the writer should say it. If there is bad to be said, he should say it in a way that reflects the truth that, though we see the evil, we choose to continue among the living. The true artist [...] gets his sense of worth and honor from his conviction that art is powerful--
Africa’s story has been written by others; we need to own our problems and solutions and write our story.
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