Top 1200 Why We Write Quotes & Sayings - Page 16

I've killed hundreds of teenagers. Hundreds. And I didn't know why. Why did I enjoy doing it so much? Why? And then I realized - I had a teenager at home!

To disguise nothing, to conceal nothing, to write about those things that are closest to our pain, our happiness; to write about our sexual clumsiness, the agonies of Tantalus, the depth of our discouragement-what we glimpse in our dreams-our despair. To write about the foolish agonies of anxiety, the refreshment of our strength when these are ended; to write about our painful search for self, jeopardized by a stranger in the post office, a half-seen face in a train window, to write about the continents and populations of our dreams, about love and death, good and evil, the end of the world.

Why have I been chosen to deliver the message of female intelligence and its divinity to a deaf world of males? I have asked my god that question and She answered, 'Hey, why not you Roseanne?' Indeed, why not each of us?

I don't write the same book over and over - I think if I did that, I would stop writing. I couldn't write a series with the same character, and I couldn't write a romance novel over and over again that takes place at a different beach every year. That's not who I am.

I think most people write from what they see in their own world, which is maybe why we so often see an African-American woman as the best friend, or the one you bring in when you need some sass. It's like we're put in a box.

I was married at the time when I first joined the band and my wife said: 'Why don't you write a song about me ?' So I wrote 'She's got balls'. Then she divorced me.

Delia Sherman once told me that you never learn to write a story. You only learn to write the story you are currently writing. You have to learn how to write the next story all over again. And she's absolutely right.

What you want is practice, practice, practice. It doesn’t matter what we write (at least this is my view) at our age, so long as we write continually as well as we can. I feel that every time I write a page either of prose or of verse, with real effort, even if it’s thrown into the fire the next minute, I am so much further on.

You know why I'm so confident? Because I am working so hard every day. That's why I am different than the other fighters and my opponents and the challengers. That's why.

Oh God. Why, oh why, did I have to be the one to deliver this news? Why couldn’t I be locked away in my room or the library doing something enjoyable, like homework?

When I was younger, my mother and I, we'd have these crazy, crazy fights. Everyone would storm out mad, and the only way that I'd be able to express myself was to write her. We would write letters back and forth for days. When I'm writing, I feel uninterrupted. I write what I'm going through and how I see it.

writing is about doing something very close to the bone. It's about shocking yourself. When I write, I like to make myself cry, laugh - I like to give myself an experience. I see a lot of writing out there that's very safe. But if you're not scaring yourself, why would you think that you'd be scaring anybody else? If you're not coming to a revelation about your place in the universe, why would you think anyone else would?

In order to write the book you want to write, in the end you have to become the person you need to become to write that book.

If I don't write down a thought - or an image or a line of poetry - the instant it comes to mind, it vanishes, which explains why I have pens and notebooks in my pants and coat pockets, the car, the bicycle basket, on one or two desks in every room including bathrooms and the kitchen.

I just am a person who loves houses. In a way, it's dovetailed into one of the themes of The Unspeakable: Why do you have to change? Why don't you just accept that this is how you are? Why do you have to grow from an experience?

I don't think you need a record deal to write songs. You don't need any other reason than you want to do it. It's a far cry from why some people do music today. They make it to order, which is pretty horrible.

I don't know why, but I always feel a kind of necessity to write things that are beyond acceptance, that are too offensive or something. For people to read them and say, Ha-ha-ha, very funny. No, we can't print that.

Books, I don't know what you see in them. I can understand a person reading them, but I can't for the life of me see why people have to write them.

The question is why one should be so inwardly preoccupied at all. Why not reach out to others in love and solidarity or peer into the natural world for some glimmer of understanding? Why retreat into anxious introspection when, as Emerson might have said, there is a vast world outside to explore? Why spend so much time working on oneself when there is so much real work to be done?

Once I start writing, I am a huge reviser. To me writing is revising. I probably turn over every sentence that I write, to see if I have the rhythm right. That's why my first drafts take a really long time.

Largely I write from life. ... I write from what happens to me. Mostly about love. People notice the other stuff more but I write mostly about love.

I asked God "Why, why, why?" I turned my face away and wished that I were imagining it all. I had tasted the bitterest essence of war, the sight of helpless comrades being slaughtered, and it filled me with disgust.

Letterwriting is the natural outlet of the "odds." The busy-bodies, the idle, the perverted, the cranks, the feel-it-my-duties ... Also the plain depraved. They all write letters. It's their safe outlet, you see. They can be as interfering, as long-winded, as obscene, as pompous, as one-idea'd, as they like on paper, and no one can kick them for it. So they write. My God, how they write!

I don't think you can write from a reactive place. I think you just write the thing you want to write about, and if other people are writing about it, that doesn't really come to bear on what you want to do.

I think the songs I was writing after Aeroplane were full of a lot of undealt-with pain that was just a little too big... the issues seemed too large for me to confront intuitively through songwriting. I kept pushing it and pushing it. There are so many issues about being human and why people inflict pain on each other. There were seeds of all these things I hadn't dealt with. With just the personal issues, I felt I was in over my head, but then to write about it... To write you have to have at least a little bit of confidence you know what you're talking about.

For them [LGBT group], language has to say exactly what it means. "Why aren't you proud of being gay?" they wanted to know. "Why are you so dark? Why are you so morbid? Why are you so sad? Don't you realize, we're all okay? Let's celebrate that fact." But that is not what writers do. We don't celebrate being "okay." If you want to be okay, take an aspirin.

You learn, right, a lot of people's problems - why they get upset, why they get down, why they turn to drink - is because they can't say one word and it's N-O, no.

I tend to get lonely a lot. That is probably why I try to write about different things when I am alone. I feel that it is a good time to organize in various ways and I should often try something new with patience.

I've always thought of myself as a reporter. When people ask why I don't stop writing, I say, `Look at what's happening in this world. Every day there's something exciting or disturbing to write about.’ With all that's going on, how could I stop?

But sometimes when I was starting a new story and I could not get it going, I would sit in front of the fire and squeeze the peel of the little oranges into the edge of the flame and watch the sputter of blue that they made. I would stand and look out over the roofs of Paris and think, 'Do not worry. You have always written before and you will write now. All you have to do is write one true sentence. Write the truest sentence that you know.' So finally I would write one true sentence, and then go on from there.

I don't know exactly what it is, but it looks like interconnected websites where people show their photos and write about everything going on in their lives, like whether they found a parking spot or what they ate for breakfast." "But why?" Josh asks.

Burn? Smite? Punish? Why is your god so intolerant? So jealous? Why must there be only one god? Why is there not room for many?

I write and speak about personal and spiritual growth. One week I write about illness and another week I speak about relationships and another week I write about work and money and another week I speak to people with obesity issues. I write about whatever wounds seem to cry out for more enlightened solutions, and the love that heals them all.

The real mystery is this strange need. Why can't we just hide it and shut up? Why do we have to blab? Why do human beings need to confess?

Why does the writing make us chase the writer? Why can't we leave well enough alone? Why aren't the books enough?

In the end I write the novels I need to write when I need to write them.

Homophobia is very, very difficult to root out, to extricate. That's why we have to bear witness. That's why we have to be so public about it, and that's why we can't just play footsie with it.

I write every day. Most weekdays, I write about ten hours a day. That doesn't mean eight hours of surfing the Net or watching videos on YouTube. I park my butt in a chair and write... I learned that writer's block is a myth created by people who don't have, or understand, a writing process.

Pressure on nerves causes irriatation and tension with deranged functions as a result. Why not release the pressure? Why not adjust the cause instead of treating the effects? Why not?

My cure for writer's block is to step away from the thing I'm stuck on, usually a novel, and write something totally different. Besides fiction, I write poetry, screenplays, essays and journalism. It's usually not the writing itself that I'm stuck on, but thing I'm trying to write. So I often have four or five things going at once.

I don't write fight scenes in comics all that well. I think they're a waste of space unless they can move a story forward in some compelling fashion. You've only got twenty-two pages to work with. Why throw that away on a set of meaningless punches?

If Romney explains why where we are with Obama is unacceptable, why whither we are tending is even worse - and why his own alternative path forward is superior - then we trust the American people to make the right choice in November.

You know what's weird, I just write to write, with no intention, I just write.

Why did I write? whose sin to me unknown Dipt me in ink, my parents', or my own? As yet a child, nor yet a fool to fame, I lisp'd in numbers, for the numbers came.

My musical instrument is Hebrew and, to me, this is the most important fact about my writing. I write in words. I don write in sounds or in shapes or in flavors. I write in words. And my words are Hebrew words.

No creative writer knows what is commercial and what isn't. You just write from your heart, you write from the deepest, creative urges in you, and you write from your soul, and you just either get lucky or not.

There's a lot of material from my life in my books, but they're not really autobiographical, in the sense that they're not about my life. So, in 'A Feather on the Breath of God' I write about my parents, I write about this Russian immigrant, I write about the world of dance, but it isn't an autobiography; so much is left out.

Like I say, I'm always writing and if something sticks, it sticks. I get to write with great songwriters in town. Lori McKenna is one of my all-time favorite singer-songwriters who's ever walked the planet. I get to write with her. The Warren Brothers are friends of mine and I write with them all the time. Lance Miller is a great songwriter. Tom Douglas - you can't get any better than that. I write a lot of stuff but it's got to stick.

The idea that we should write towards the unknown aspects of our experience was totally groundbreaking for me. It gave me the license I needed to try to write outside myself. This attitude has deeply informed my approach to fiction, emboldening me to write characters with voices or situations that are vastly different from my own.

You cross a border and the policeman or the frontier policeman look at you, What are you doing here? Why are you coming? How long will you stay? Well, if I had nearly enough years, I would write a novel about being a refugee.

I started writing by doing small related things but not the thing itself, circling it and getting closer. I had no idea how to write fiction. So I did journalism because there were rules I could learn. You can teach someone to write a news story. They might not write a great one, but you can teach that pretty easily.

I'm very selective about what I write about, and whom I write about, and how much I write about somebody.

I would write down the lyrics to 'C.R.E.A.M.' in Korean - not translating it, but phonetically writing out each word. I didn't know what they were saying, so I would just write everything down as I heard it. I would recite it and imitate it like that. That's how I started to write my own raps.

Technique is really personality. That is the reason why the artist cannot teach it, why the pupil cannot learn it, and why the aesthetic critic can understand it.

I'm not into, Hey, what's your sign? or any of that. But I don't know how I got here, and I don't know how I write songs. I don't know why I breathe.

I so desperately hate to end these movies that the first thing I do when I'm done is write another one. Then I don't feel sad about having to leave and everybody going away. That's why I tend to work with the same people; I really befriend them.

In modern novels I try to not let myself get away and to be here, and that's why I write about my life and myself. But even when I do that there's an element of disappearing to a place that's not me. It's "the selflessness of writing". It seldom happens, but when it does it's worth quite a lot.

It is human nature to look away from illness. We don't enjoy a reminder of our own fragile mortality. That's why writing on the Internet has become a lifesaver for me. My ability to think and write have not been affected. And on the Web, my real voice finds expression.

Sometimes I write about my own life. And sometimes I write about situations I see my friends going through. Sometimes I write about a scene I saw in a movie. I take inspiration from all different places.

Why does a state last a thousand years? Why not 999? Why not a thousand and one? What are the events that finally bring the whole thing down? That is what I am asking.