Top 1200 Novel Writing Quotes & Sayings - Page 19

Reviewing music or reviewing anything is a writing job. It's nice if you are experienced in the field you are writing about, but writing is what you are doing.

The manual for WordStar, the most popular word-processing program, is 400 pages thick. To write a novel, you have to read a novel - one that reads like a mystery to most people. They're not going to learn slash q-z any more than they're going to learn Morse code. That is what Macintosh is all about.

Writing on my own versus co-writing kind of is the exact same thing because we don't sit in the same room when we write. We're always writing alone anyway.

I approach writing female characters the same why I approach writing male characters. I never think I'm writing about women, I think I'm writing about one woman, one person. And I try to imagine what she is like, and endow her with a lot of my own thoughts and history.

When you're writing - when I'm writing anyway - I'm writing out of different kinds of preoccupations and obsessions, different forms of drivenness, and so you're really hostage those while writing. I am, anyway. And it's only when you finally take the finished thing out of the furnace that you see what it was that went into the making of the thing.

People who write for reward by way of recognition or monetary gain don't know what they're doing. They're in the category of those who write; they are not writers. Writing is simply something you must do. It's rather like virtue in that it is its own reward. Writing is selfish and contradictory in its terms. First of all, you're writing for an audience of one, you must please the one person you're writing for. Yourself.

You learn by writing short stories. Keep writing short stories. The money's in novels, but writing short stories keeps your writing lean and pointed.

A good novel is one that shows the complexity of individuals, and creates enough space for all these characters to have a voice; in this way a novel is called democratic - not that it advocates democracy but that by nature it is so. Empathy lies at the heart of Gatsby, like so many other great novels - the biggest sin is to be blind to others' problems and pains. Not seeing them means denying their existence.

Something happens between a novel and its reader which is similar to the process of developing photographs, the way they did it before the digital age. The photograph, as it was printed in the darkroom, became visible bit by bit. As you read your way through a novel, the same chemical process takes place.

'The Secret Agent,' Joseph Conrad's 1907 novel about an anarchist plot to blow up the Royal Observatory at Greenwich - in fact, a scheme by a secret police agent to stir up a government backlash - has acquired a kind of cult status as the classic novel for the post-9/11 age.

You have to have an eye and a feeling for where things go. Writing visually, writing textually, writing sonically. Text is visual for me and images are textual. There is power in the way ideas are arranged, not just developed rhetorically. Form is everything.

In 2011, I did an internship in Seven Dials, a junction in London where seven roads come together. I'd given up on writing after multiple rejections for my first novel, and I was starting to consider a career in publishing instead, but Seven Dials gave me such a strong idea for a setting that I couldn't resist picking up my pen again.

My most recent novel didn't start out scaring me, but as I got deeper into writing it, it scared me. It's not so much where the story's going. It's where it came from. I always come out of it thinking, Okay, that got it all outta me. The next one's gonna be nice and simple, and it's not gonna scare me, and that never seems to happen.

The process of writing fiction is totally unconscious. It comes from what you are learning, as you live, from within. For me, all writing is a process of discovery. We are looking for the meaning of life. No matter where you are, there are conflicts and dramas everywhere. It is the process of what it means to be a human being; how you react and are reacted upon, these inward and outer pressures. If you are writing with a direct cause in mind, you are writing propaganda. It's fatal for a fiction writer.

The most common mistake students of literature make is to go straight for what the poem or novel says, setting aside the way that it says it. To read like this is to set aside the ‘literariness’ of the work – the fact that it is a poem or play or novel, rather than an account of the incidence of soil erosion in Nebraska.

In writing, one searches, and that is what keeps one writing, that one sees and experiences things from another angle entirely; one experiences oneself during the process of writing.

You could say that this book is ripped from the headlines, but that wouldn't be fair. Bret Anthony Johnston's riveting novel picks up where the tabloids leave off, and takes us places even the best journalism can't go. Remember Me Like This is a wise, moving, and troubling novel about family and identity, and a clear-eyed inventory of loss and redemption.

The first thing you have to consider when writing a novel is your story, and then your story - and then your story!

Certain kinds of things that the novel used to do, which was, "Oh, I'm living out here in West Nowhere, Nebraska and I'm curious how the upper class in New York City lives, I guess I'll read a novel about it." We don't have to do that now. You just turn on the TV. Turn on Lifestyles Of The Rich And Famous. You can get that information anywhere. Novels don't have to do that anymore.

The writing workshops and programs that are everywhere have encouraged writing. And if that produces more writing, it's also producing more readers of an elevated level. So all in all, a good thing.

"Unputdownable" is, I suppose, something we all dream of, maybe without knowing it. I realized, some time ago, that a novel can hold a lot, and it made sense that this one was not of the sleek and economical variety, but instead the "full" type. Novel as piñata. And the reader does the whacking. I had a central idea, which is to look at what happens to talent over time.

I reached a point where I'd watched enough directors do the job that I felt I understood it. And it's not that I'm a slow learner and it took me this long; I also was enjoying writing, and I still enjoy writing - I get tremendous satisfaction out of the writing end of it.

I may be writing well, I may be writing poorly, but I enjoy the act of writing and sometimes when it turns out okay, I feel an elation that is incomparable.

I've never been that person who thought that because I've written one novel, I should write another and another. It's only when there was another novel to write that I was going to write another.

I find writing the darker side, writing tragedy, a lot easier than writing happiness. Happiness is just less psychologically compelling, isn't it?

I've also been writing with my guitarist, Ted Barnes, and he's amazing. Writing with him has taught me a lot about my own writing process, in the sense that it's incredably personal to write with someone else from scratch.

I finished my first novel - it was around 300 pages long - when I was 16. Wrote one more before I got out of high school, then wrote the first Lincoln Perry novel when I was 19. It didn't sell, but I liked the character and I knew the world so I tried what was, in my mind, a sequel. Wrote that when I was 20, and that one made it.

Writing detective stories is about writing light literature, for entertainment. It isn't primarily a question of writing propaganda or classical literature.

There are two different ways of writing a novel. The first I call the traditional father way, when the novelist slightly situates himself or herself above the text and knows what each and every character is going to do. It's a bit like engineering. I've never felt close to that tradition. I like the second way, which relies a bit more on intuition.

Writing a book is something I actually feel like I could do. I don't know when that would happen, but I feel like if the right idea strikes, whether it be short stories or a novel or even a memoir that would be more substantial than most of the comedian memoirs people put out where it's big font and all the chapters are like ten pages long.

Writing teaches writing. Your writing will teach you how to write if you work hard enough and have enough faith.

A writer is someone who spends years patiently trying to discover the second being inside him, and the world that makes him who he is: when I speak of writing, what comes first to my mind is not a novel, a poem, or literary tradition, it is a person who shuts himself up in a room, sits down at a table, and alone, turns inward; amid its shadows, he builds a new world with words.

I am keenly aware that in writing about my mother, I am writing about my aunts' sister, and that in writing about my grandmother, I'm writing about their mother. I know that my honesty about how my view of these people has changed over the years may be painful.

I hate writing. I so intensely hate writing - I cannot tell you how much. The moment I am at the end of one project I have the idea that I didn't really succeed in telling what I wanted to tell, that I need a new project - it's an absolute nightmare. But my whole economy of writing is in fact based on an obsessional ritual to avoid the actual act of writing.

If you want to study writing, read Dickens. That's how to study writing, or Faulkner, or D.H. Lawrence, or John Keats. They can teach you everything you need to know about writing.

One can feel the immense joy of Amy Hill Hearth's engagement in her first novel. It radiates through every scene and through every page. Sometimes, an exceptional writer finds an exceptional premise, and the result is a truly exceptional book. Such is the case with Miss Dreamsville...The writing is brilliant, especially the dialogue through which the characters are defined.

Some say writing is its own reward. I write for money, but writing for money is not so bad, especially when that writing brings you joy.

I don't believe in writer's block, writing well is very easy; it's writing horribly, the horrible work necessary to do to get to writing well, that is so difficult one may just not be willing to do it.

I wrote the first draft of the New People quickly but it had been percolating a lot longer. It's a hard question to answer because I'd been working on another novel for years and when I gave up on that, this one came very easily. But I think the work had been going on a lot longer than the actual writing.

Retiring from writing is not to retire from life, but retiring from writing is to avoid the inevitable bitterness which a writing career is bound to deliver as its end product, in almost every case.

In adopting the form of the adventure novel, Wells deepened it, raised its intellectual value, and brought into it elements of social philosophy and science. In his own field - though, of course, on a proportionately lesser scale - Wells may be likened to Dostoyevsky, who took the form of the cheap detective novel and infused it with brilliant psychological analysis.

When really writing I'm not a good friend. Because writing disorganizes the social self, you become atomized. It scrambles you, sometimes to the point that I'm incapable of speech. I feel that if I start speaking, I'll lose the writing, like getting off the treadmill.

Well, the secret to writing is writing. It's only a secret to people who don't want to hear it. Writing is how you be a writer.

I think film writing, you're thinking in pictures, and stage writing, you're thinking in dialogue. In film writing, it's also, you only get so many words, so everything has to earn its place in a really economical way. I think for stage writing, you have more leeway.

The art of the novel, however, has fallen into such a state of stagnation - a lassitude acknowledged and discussed by the whole of critical opinion - that it is hard to imagine such an art can survive for long without some radical change. To many, the solution seems simple enough: such a change being impossible, the art of the novel is dying.

I don't begin a novel with a shopping list - the novel becomes my shopping list as I write it.

Writing is writing to me. I'm incapable of saying no to any writing job, so I've done everything - historical fiction, myths, fairy tales, anything that anybody expresses any interest in me writing, I'll write. It's the same reason I used to read as a child: I like going somewhere else and being someone else.

The process of writing a novel is like taking a journey by boat. You have to continually set yourself on course. If you get distracted or allow yourself to drift, you will never make it to the destination. It's not like highly defined train tracks or a highway; this is a path that you are creating discovering. The journey is your narrative. Keep to it and there will be a tale told.

In writing, the point is not to manifest or exalt the act of writing, nor is it to pin a subject within language; it is, rather, a question of creating a space into which the writing subject constantly disappears.

Writing your name can lead to writing sentences. And the next thing you'll be doing is writing paragraphs, and then books. And then you'll be in as much trouble as I am!

I feel very much a part of what I'm writing about, and I'm writing about things that concern me on a daily basis. I'm not really interested in writing musical diaries, if you know what I mean.

For me, writing is fun. The day I quit my job and take up writing full time, writing will become just another job. A commercial necessity.

Film writing and concert writing are two very different things. In film writing I am serving the film and it tells you what to write. I have to stay within the parameters of the film. In writing concert music for the stage I can write anything I want and in this day and modern age rules can be broken.

One constant writing ritual, no matter what I'm writing, is that I cannot write if people are around me. It wigs me out - the idea that someone is reading as I'm writing stuff.

It's been noted that writing about the production of art is a masquerade or metaphor for writing about writing. This may be true, there are similarities - both the verbal and the visual represent the thing or the concept.

I had some bad jobs when I was young. Writing is not one of them. If you're fortunate enough to reach my age, to still be writing, you have to be grateful, and I am. I've been lucky. For many years, all I've done is writing, and it's all I've ever wanted to do.

I suppose writing nonfiction did prepare me for writing fiction. Whenever you write anything, you're honing your skills for writing anything else.

It's much easier to teach writing, because people are less shy about writing. If they're in a group, nobody can see what they're writing. When you're drawing, people get a little more nervous.

'Drown' was always a hybrid book. It's connected stories - partially a story collection but partially a novel. I always wanted the reader to decide which genre they thought the book belonged to more - story, novel, neither, both.

It was not a choice of writing or not writing. It was a choice of loving my life or not loving my life. To keep writing was always a first priority.... I worked probably 25 years by myself.... Just writing and working, not trying to publish much. Not giving readings. A longer time than people really are willing to commit before they want to go public.