Top 1200 Research And Writing Quotes & Sayings - Page 20

While writing, you are more interested in seeing what happens with you in the process, because all that writing is just you sorting through and exploring and wondering and figuring out your thoughts.

I respect people that find writing easy, because I have focus problems. I'll spend five days eating cereal and YouTubing and two hours writing the article.

I love hooks, but getting radio airplay has never been a concern to me while I'm writing. That would be a very stifling and imprisoning way of writing music.

Writing is storytelling and all of us are authors, not just of words but of reality. You are the author of your life, so go out and live! Then never quit writing about it!

I left my job in the fall, and now I can set my life up around writing instead of squeezing writing into my day; it's amazing to have that time, and I feel very lucky.

Lyric writing is an interesting process in Sonic Youth. There's three people writing now, and we've all had a lot of interest and involvement with expression through words.

I wasn't a class clown, I just found at an early age that I was able to make people laugh. So I mostly wrote funny stuff instead of writing what I was supposed to be writing.

I spent many years of my life as an economist and demographer. I was finally distracted by writing my novels and poetry. I'm enormously happy that was the case. I feel that with writing I have found my metier.

I don't do research. I never have.

I'm big on research.

Be ruthless about protecting writing days....althoug h writing has been my actual job for several years now, I still seem to have to fight for time in which to do it.

The story goes that every Jedi constructs his own lightsaber, and every penmonkey constructs his own pen. Meaning, we all find our own way through this crazy tangle of possibility. This isn't an art, a craft, a career, or an obsession that comes with easy answers and isn't given over to bullshit dichotomies. We do what we do in the way we do it and hope it's right. Read advice. Weigh it in your hand and determine its value. But at the end of the day - and at the start of it - what you should be doing is writing. Because thinking about writing and talking about writing just plain isn't writing.

I'm a research queen.

The writing process is not just putting down one page after another-it's a lot of writing and then rewriting, restructuring the story, changing the way things come together.

Ever since high school I've been writing in a spiral notebook, in pencil. Everything looks too polished on a computer when you start writing, and I can't really see it. I feel like the words are much more naked in pencil, on a notebook. I feel that my brain works differently, and words come out differently, if I have a pencil in my hand, rather than if I have a keyboard. I tend to add more in the margins. I tend to elongate the sentences as I'm writing and editing, and there is just something about the feeling of writing longhand that I really love.

In the fall of 1989, I was writing 600-word columns at the 'Herald.' My heart always was in long-form narrative writing, though. It's what I cut my teeth on at the 'Boston Phoenix.'

Research is appreciation.

All my knowledge comes from research.

I don't know that it's particularly good for my writing process, but I have gotten some very valuable writing ideas and advice through Twitter and Facebook and other social network sites.

With writing fiction, I'm either not courageous enough or just not suited for telling truths in a more conventional way. As an actor, I inhabit those characters as I'm writing them.

I'm a journalist, not an advocate, so I approached researching and writing the book the same way that I do any other reporting. But when you're writing for yourself, you have a little more room to say what you think.

That first writing session, what Dan Hill calls a creative blind date, is always a real challenge, and you bring that back to your partner when you return to writing with them.

Writing is like wrestling; you are wrestling with ideas and with the story. There is a lot of energy required. At the same time, it is exciting. So it is both difficult and easy. What you must accept is that your life is not going to be the same while you are writing. I have said in the kind of exaggerated manner of writers and prophets that writing, for me, is like receiving a term of imprisonment-you know that's what you're in for, for whatever time it takes.

We go to the office every day when we're writing - or supposed to be writing. It's not always productive, and there's a lot of procrastinating, just staring at the wall, like any other writing. But we just make ourselves go to the office every day for more or less the whole day.

I prefer reading novels. Short stories are too much like daggers. And now that I'm done with my collection I'm more interested in different forms of writing and other kinds of narrative art. I'm working on a screenplay. But when I was working on Eileen, I definitely felt like I was taking a piss. Like, here I am, typing on my computer, writing the "novel." It wasn't that it was insincere, but there was a kind of farcical feeling I had when I was writing.

There was a moment when I changed from an amateur to a professional. I assumed the burden of a profession, which is to write even when you don't want to, don't much like what you're writing, and aren't writing particularly well

Writing at home and then going out into the world to talk about why books matter to me feeds the writing. It's a good mix. It provides balance.

I do like writing. When I was a little kid, I used to love writing funny, silly stories - and my mom would always encourage it. I don't know why I ever stopped!

As soon as I started writing Julia, by which I mean while writing its first sentence, I felt a sudden, reassuring charge of excitement. I knew it was going to work.

It's very unlikely that a writer is going to make a living by writing. So then the question is: how do you balance work, life, and writing? If you find out, please tell me.

You have to understand the medium you're writing for. People jump into writing musicals without realizing how complicated they are. Knowing one form doesn't necessarily mean you know the other. You have to be comfortable with it.

I think all writing is an attempt to complicate and subvert the dominant narrative. Writing personalizes statistics. It puts a face and a name on a number. I suppose in that sense it's always political.

All I'm armed with is research.

I'm a creative person and I use painting, acting, writing, writing songs, or whatever, as tools to just get a point across, in order to communicate a story or an emotion.

So when I went to Arista, I had a period of writing where I suddenly was unrestricted. I wasn't writing for a band for the first time. It opened up a whole other arena for me to work within.

Writing is so fun precisely because if you take out the right adjective, the readers can decide what kind of book is in their hands. Suspension of disbelief should not be mandatory in contemporary writing.

Freedom begins the moment you realize someone else has been writing your story and it's time you took the pen from his hand and started writing it yourself.

I like as much time as I can get and I'll do whatever I think is helpful to prepare for a role. Sometimes it's practical research, meaning if I had to write shorthand, I'd learn how to write shorthand. Or if I have to know how to dance a certain way, I would learn that. And then there's just research of talking to people similar to the characters I'm playing. And there's stuff that I just feel is inspiring, whether it be music or a painting or a photograph. I've used a lot of Nan Goldin's photos in the past to inspire me. I use certain paintings and pieces of music.

I love making object form; I wish I was doing more of it. I admire the research of my colleagues, and sometimes it makes me sad when their beautiful work - the deep dives into formal research and nuances of geometry and so on - ends up circling in more and more circumscribed contexts. I wish they were more powerful. It's not a modern proposition. Active form doesn't kill object form. I want my students to have all those skills related to geometry, shape, measure, scale, etc., plus skills for using space to manipulate power in the world.

Everything I do is because of writing. If I go for a walk, it's because I'm thinking of writing. I go look at flowers, I go look at the garden, I go look at a museum, but it's all coming back to writing.

The writing is only ever the attractive thing about a part. And also if all the elements within the writing come together - the character and the structure and the narrative - if they are all there then you become excited.

So writing about love or having it infuse the poems that I'm writing has never been something I've set myself to do, except when I write a poem for my wife, for an occasion, such as our anniversary.

Writing is a deeply immersive experience. When the words are flying, the house could be burgled and I wouldn’t notice. I have a low boredom threshold and I like intensity – writing is a way of escaping the quotidian.

I've quit writing screenplay [adaptations]. It's too much work. I don't look at writing a novel as work, because I only have to please myself. I have a good time sitting here by myself, thinking up situations and characters, getting them to talk - it's so satisfying. But screenwriting's different. You might think you're writing for yourself, but there are too many other people to please.

What I'm really involved in when I'm writing is something that no one ever mentions when they see any play. Writing is like trying to make gunpowder out of chemicals. You have these words and sentences and the strange meanings and associations that are attached to the words and sentences, and you're somehow cooking these things all up so that they suddenly explode and have a powerful effect. That's what absorbs me from day to day in writing a play.

Writing a film - more precisely, adapting a book into a film - is basically a relentless series of compromises. The skill, the "art," is to make those compromises both artistically valid and essentially your own. . . . It has been said before but is worth reiterating: writing a novel is like swimming in the sea; writing a film is like swimming in the bath.

The writing I love has something memorable in it - an image, a smell. It's the connection between the moment and the whole concept, weaving the micro together with the macro so that it has a hold on people - that's writing.

I don't research anything.

The written word is weak. Many people prefer life to it. Life gets your blood going, & it smells good. Writing is mere writing, literature is mere. It appeals only to the subtlest senses—the imagination’s vision, & the imagination’s hearing—& the moral sense, & the intellect. This writing that you do, that so thrills you, that so rocks & exhilarates you, as if you were dancing next to the band, is barely audible to anyone else.

I have been both overpraised and underpraised. I assume by the time I finish writing -- and I plan to go on writing until I'm 90 or gaga -- it will all equal itself out.

Simply put, meta-writing is writing that is self-conscious, self-reflective, and aware of itself as an artifice. The writer is aware she's writing, and she's aware there's a reader, which goes all the way back to Montaigne's often-used address "dear reader," or his brief introduction to Essais: "To the Reader." It can be done in a myriad of ways.

There's something special about writing by hand, writing with a fountain pen, and there's something special about writing into a book, to take a blank book and turn it into an actual book.

I've always believed in writing without a collaborator, because where two people are writing the same book, each believes he gets all the worry and only half the royalties.

Ultimately, whether we are writing posts, paragraphs, essays, arguments, memoirs, monographs or even just the Great American Tweet, writing is and should be a grand adventure.

I wanted to be a director first to protect my writing. I'm a playwright and you don't need to protect your writing when you're in the theater because everyone's there to protect the writing. When I had an idea for a film that I really cared about as my own, I wanted to direct it, and then I immediately became interested in directing in and of itself because it's such a deep art. You suddenly have all these tools at your disposal to tell the story.

I'm writing a musical. I am. I was able to buy the rights to 'The Preacher's Wife,' which starred Whitney Houston... I'm writing a whole new score and all the lyrics for it.

When I'm writing fiction I'm thinking, God, this is so hard - I have to make all this stuff up! I wish I were writing a nonfiction book where all the facts are laid out and I don't have to be so much at sea.

I was writing - at least beginning to write Boston Boy and there were a lot of holes in my so-called research. I didn't know the towns my mother and father came from in Russia. I didn't know the name of the clothing store I went to work for when I was 11 years old. I didn't know a lot of things. So I called for my FBI files, not expecting to have that stuff there, but I wanted to know what they had on me.But they did have the towns my mother and father lived in in Russia. They had the grocery store I worked in when I was 11 years old.

When I write music for a film, I'm not writing a solo album, and I'm not writing a personal piece. I'm part of a team of artists. So I think like a filmmaker more than a composer.

Writing is so... I don't know, it's such a practice, and I feel very unpracticed in it, because I'm not doing it every day. And I really need to do it every day. In other words, you spend all this time writing a movie, and then you stop, and then you're shooting the movie, and then you're cutting, and a year and a half goes by, because in the editing room, you're not writing.