Top 1200 Essay Writing Quotes & Sayings - Page 2

Distractions have never prevented a Writing Writer Who Writes from writing; distractions are an excuse proffered by Non-Writing Non-Writers Who are Not-Writing for why they are not writing.

I had tried writing novels for many years, and they always escaped me. For a long time, I thought, 'It's just not in me to write a novel. It's not something I'm able to do.' It seemed like everything I wrote naturally ended at the bottom of page three. A picture book, three pages; an essay, three pages.

My presence isn't simply about "character" - I'm present in every part and particle of the thing, in the sound and rhythm of the sentences, in the shifting tones and the selection of details, in the comedy, the sadness, and the confusion. For the space of an essay, I'm the air you breathe, everywhere and nowhere. With a personal essay, I don't think you'd want it any other way. You ought to have the sense of an encounter, the impression of having met someone. In my essays, for better or worse, that someone is me.

I have these guilts about never having read Chaucer but I was talked out of learning Early Anglo-Saxon / Middle English by a friend who had to take it for her Ph.D. They told her to write an essay in Early Anglo-Saxon on any-subject-of-her-own-choosing. “Which is all very well,” she said bitterly, “but the only essay subject you can find enough Early Anglo-Saxon words for is ‘How to Slaughter a Thousand Men in a Mead Hall’.

Purple light passed over the paper, but nothing happened. "Next!" Amy said. She was sure the man in black was going to burst in on them any second. "Whoa!" Dan said. Amy gripped his arm. "You found it?" "No, but look! This whole essay - 'To the Royal Academy.' He wrote a whole essay on farts!" Dan grinned with delight. "He's proposing a scientific study on different fart smells. You're right, Amy. This guy was a genius!

Criticism is, for me, like essay writing, a wonderful way of relaxation; it doesn't require a heightened and mediated voice, like prose fiction, but rather a calm, rational, even conversational voice.

Planning to write is not writing. Outlining, researching, talking to people about what you're doing - none of that is writing. Writing is writing. Writing is like driving at night in the fog. You can only see as far as your headlights, but you can make the whole trip that way.

My English teacher, Dr. John Lindstrom, taught me an appreciation for the written word. Until his class, I'd dabbled in journalism and essay writing. But when he selected one of my essays as the best in the class, it gave me the confidence to see myself as a writer.

I love the essay. It's my favorite genre to work in.

History begins in novel and ends in essay.

I hate the tribal hatred thesis - in Yugoslavia and Rwanda and places like that they kill each other because that's just what people do there. I think it's profoundly ignorant. I was astonished when Samuel Huntington wrote his famous clash of civilizations essay in response to the Yugoslavian war. I was on the streets in Sarajevo and every other person I met came from a mixed marriage. And here is Professor Huntington from Harvard writing this is a clash of civilizations. That was absurd.

Grading creative writing is always an ethical dilemma. But what you brought up about grading personal stories versus the research paper is of course a truly volatile issue in teaching memoir or the personal essay, because there's no pretense that the narrator is a character.

I enjoy writing, sometimes; I think that most writers will tell you about the agony of writing more than the joy of writing, but writing is what I was meant to do.

Everybody is writing, writing, writing - worst of all, writing poetry. It'd be better if the whole tribe of the scribblers - every damned one of us - were sent off somewhere with tool chests to do some honest work.

An idea might spark an essay, but never a story.

If you look around at the news industry, there are more and more sites clamoring for that kind of writing, whether it's an Ideas section or personal essay series or longform. Readers are hungry for it. It's like prestige TV, though; it's execution-dependent. You have to figure out the right advertiser or sponsor, and you have to deliver, you can't just feed the beast.

I suppose I like certainty as much as anyone else, but I also feel that the hidden costs are high, that we pay a heavy price for our convictions. This is a human issue as well as a writing issue - at least in the personal essay as I practice it. Any real essayist knows that certainty is an editorial decision, arrived at not through conviction but through suppression, the denial of a whole range of possibilities, of alternatives that we jettison, sometimes necessarily, in order to steady the ship.

The law of the innermost form of the essay is heresy

I do think reading is the best practice for writing, along with writing all the time. I actually never liked writing on my own or in school until I'd had my blog for a while and realized I'd been writing every day for years.

One's politics are part of one even when one is writing. But if I want to say anything about the state of civil society, I will write an essay. The responsibilities you feel as a novelist are literary ones, I think, not civic ones. And I think politicians are interesting to write about.

Whereas if you were writing an op-ed piece or an essay, somebody would be asking, "What's your point?" With poetry you can stay in a moment for as long as you want. Poetry is about metaphor, about a thing standing in for something else. It's the thing that opens out to something else. What that something else is changes for readers. So what's on the page - it falls away.

Sometimes the essay is where we end up when everything that we know must change.

'Flaubert's Parrot' is an amphibious book in which what appears to be a personal essay about Flaubertian writing is gradually, delicately transformed into an extremely sad novel in which the differences between character, author, and narrator are less clear than they appear at first glance.

One would think that in writing about literary men and matters there would be no difficulty in finding a title for one's essay, or that any embarrassment which might arise would be from excess of material. I find this, however, far from being the case.

I think I've been mildly obsessed with my hair. I don't think I have a hugely adversarial relationship with it. One my essay is about my decision to keep coloring my hair once it started to go gray, but once I wrote the essay - once the book was in production - I decided to go gray.

I didn't really see a way to make a living on the farm. I always loved writing. I was the guy who won the D.A.R. essay contest and things like that, and it was the era of Watergate, and I decided I would be the next Woodward and Bernstein, and then retire to the farm.

I'm always writing. A friend of mine once said, 'You avoid re-writing by writing.' Which is kind of a good point, because re-writing seems to be mostly about craft, and writing is just, like, getting out your passion on a piece of paper.

Outlining is not writing. Coming up with ideas is not writing. Researching is not writing. Creating characters is not writing. Only writing is writing.

What I think is important about essayists, about the essay as opposed to a lot of personal writing is that the material has to be presented in a processed way. I'm just not interested in writing, "Hey, this is what happened to me today." You get to a place that has very little to do with your personal experience and talks about some larger idea or something in the culture. I don't think you can get to that unless you have had a lot of time to gestate and maybe if I was taking a lot of notes while stuff was going on, I wouldn't be able to get to that place as easily.

I would definitely want to essay meatier roles in good films.

I kind of got more interested in writing after I turned in my last college essay and nobody was going to tell me what kind of academic papers to write anymore. I could write whatever I wanted, and I realized that I actually liked it when I could choose what I would write.

I never start with what lots of people think of as a subject or a theme. They're school words, not art words. So, writing essays busts my arse because the art is in addressing the subject. I find it really difficult and monstrously time-consuming. In an essay I need to employ my imagination but it's indentured in a way it's not when I'm free to make everything up.

More than this, I believe that the only lastingly important form of writing is writing for children. It is writing that is carried in the reader's heart for a lifetime; it is writing that speaks to the future.

I don't know if I ever would have developed into a good actor, but that got completely scotched when I lost my vocal cord at 14 in the operation. But writing always - writing plays, writing, writing, writing, that was what I wanted to do.

Writing objects to the lie that life is small. Writing is a cell of energy. Writing defines itself. Writing draws its viewer in for longer than an instant. Writing exhibits boldness. Writing restores power to exalt, unnerve, shock, and transform us. Writing does not imitate life, it anticipates life.

I'm interested in the possibility of fiction which straddles narrative and essay.

I think there's much more privileging of the new in art. I think people want to think they privilege the new in writing, but I agree with Virginia Woolf. She wrote a great essay called "Craftsmanship" about how difficult it is to use new words. It's really hard, but you see them coming in because obviously, if you're going to write... I mean, even to write "cell phone" in a novel - it's so boring.

Planning to write is not writing. Outlining, researching, talking to people about what you're doing, none of that is writing. Writing is writing.

I try to write an essay every time I speak.

The point of the essay is to change things.

Writing as writing. Writing as rioting. Writing as righting. On the best days, all three.

You can include essay elements in fiction; this is a very nineteenth century practice.

I really love that idea of the essay as an investigation. That's all anyone's life is.

My feeling is, when you are writing an essay, you don't make anything up. This may be a very Protestant notion, and I'm aware of the fact that memory is fallible, that if I had access to films or some absolute documentary evidence of what happened, it might look different; we get confused and fuzzy.

A revolution is not a dinner party, or writing an essay, or painting a picture, or doing embroidery. It cannot be so refined, so leisurely and gentle, so temperate, kind, courteous, restrained and magnanimous. A revolution is an insurrection, an act of violence by which one class overthrows another.

Too much me is annoying under any circumstance, but too much me in an essay, however personal, would mar the art. My "character" in the essay is more like a perspective, an angle of vision, a complicating factor, a questioning presence. I don't sit on the sidelines or pretend to objectivity; and I'm not afraid to stick my neck out or to be revealing and vulnerable.

There are a lot of college writing textbooks that will include essays and short stories, and after reading the story or essay, there will be questions such as "Have YOU Had any experience with a pedophile in YOUR family?" or "When was the last time you saw YOUR mother drunk?" and they're just really good at prompting stories. You answer the question, and sometimes that can spring into a story.

The challenges of writing a book are very different from writing a blog or tweets. I've been writing a blog since I was in the 6th grade, so I had this style of writing that was definitely not proper for writing a book.

Contradictory strands create an essay that's richly ambivalent.

For in Calormen, story-telling (whether the stories are true or made up) is a thing you're taught, just as English boys and girls are taught essay-writing. The difference is that people want to hear the stories, whereas I never heard of anyone who wanted to read the essays.

An essay is something that tracks the evolution of a human mind.

There is no room for the impurities of literature in an essay.

I discovered that I had, in the past two decades, written a far greater amount in the essay form than I remembered. Certainly I have written enough of it to demonstrate that I harbor no disdain for literary journalism or just plain journalism, under whose sponsorship I have been able to express much that has fascinated me, or alarmed me, or amused me, or otherwise engaged my attention when I was not writing a book.

When I'm writing, I'm writing for a particular actor. When a lot of writers are writing, they're writing an idea. So they're not really writing in a specific voice.

That's one thing brands are understanding is, I'm the blogger who's not writing about fashion. I'm not writing about beauty. I'm not writing about gossip. I'm not writing about politics. I'm writing about all of that. I'm the person they can come to if they just want to reach people who care and have their fingers on pop culture.

What I think is important about essayists - about the essay, as opposed to a lot of personal writing that kind of finds its way into public view - is that the material really has to be presented in a processed way.

You still had to find the music inside your language. You know, it was - that's a big part of what sort of moved me to begin writing the book. I wrote a little essay and I felt, yeah, this is a good voice. This is a good feeling. It feels like me.

My writing process is consecutive, like, 'mad scientist' crazy. It's not totally writing something that rhymes or even writing a rap necessarily. Sometimes it's just writing down stuff that I'm going through.

I knew how to write like an academic, so I knew how to write academic papers and essays and things. But the things that are great for an essay are unbearable in narrative writing.

I wrote an essay about leaf blowers and the evil they do.