Top 1200 Why We Write Quotes & Sayings - Page 17

I write slowly, and I write many, many drafts. I probably have to work as hard as anyone, and maybe harder, to finish a poem. I often write a poem over years, because it takes me a long time to figure out what to say and how best to say it.

Isn't it remarkable how everyone who knew [D.H.] Lawrence has felt compelled to write about him? Why, he's had more books written about him than any writer since Byron!

One of the reasons why I agreed to do commercials is that they gave me complete freedom. I just had to have the car in it and write a story around it. I wanted to do something serious set in a Latin American country, but again, it was an exercise in style for me.

In one of my songs, in the song on the "Why?" remix that I did with Jadakiss in 2004, I said, "Why is Bush actin' like they tryin' to get Osama? Why don't we impeach him and elect Obama?" This is in 2004 on the "Why?" remix and I said that because I really had belief that Obama was the right person to be president

Everyone thinks writers must know more about the inside of the human head, but that's wrong. They know less, that's why they write. Trying to find out what everyone else takes for granted.

I do feel guilty. I do. Especially about my family, my children. I write about them, and I know that this will haunt them as well through their lives. Why did I do that to them?

In the last volume of In Search of Lost Time, Proust compares himself to Scheherazade: he says he has finally understood the nature of the book he has to write, just at the moment when his advancing years and declining health have made him doubt that he's going to live long enough to write it. So he has to write against death like Scheherazade.

I try to be outraged by things that other people are just very accepting of, as though they're normal and can't be changed. A lot of what I write about is, "Hey, you know, this stuff is really awful, and it doesn't need to be, and that's why it's so offensive." Things should be better.

In terms of the economics, yes obviously the rise of e-books and how people choose to read books has a big effect on the economics of the game. But whether people are buying them on paper or downloading them there's still some poor wretch in a room who is trying to write a poem, write a story, write a novel. And so my job doesn't change. It's just how people receive it and economic conditions on the ground change, but that doesn't affect what I write.

I sit and I write automatically. I don't really try to write. My subconscious mind takes over and writes the songs for me. Songs come very easily for me. When I'm inspired, it takes me 20 minutes to write a song.

It's one of the curses of designing that when you look at anything, you're constantly thinking, Why? Why - why was it designed like that, and not like this?

At 16 I was living in the Congo, and, you know, it's your teenage time. I really wanted to find a way to express myself, so I started to write songs in the Congo, and I think that's why my music is quite open, with a lot of different influences.

I think writing really helps you heal yourself. I think if you write long enough, you will be a healthy person. That is, if you write what you need to write, as opposed to what will make money, or what will make fame.

I never try to convey a message, I just want to tell a story. Why that story in particular? I have no idea, but I have learned to surrender to the muse. I become obsessed with a theme or with certain stories; they haunt me for years, and finally, I write them.

I don't want to change the way I write my songs, I like the way I write my songs, so I keep 'em the same. I'd like to write more country songs, but other than that, I'm pretty good where I am.

You write not for children but for yourself. And if by good fortune children enjoy what you enjoy, why then you are a writer of children's books.

Someone wanted me to write a profile for ESPN about the commissioner of baseball, and I said, "He's just some suit! Some Republican. No!" I mean if you want me to write about baseball, boxing or football, I'll write about those things because I watch them, I think about them a lot and I like them. But I don't want to write about Barry Bonds.

I like to write pop songs and the stuff I write is fairly poppy, so I thought maybe my lot in life was to write pop songs for people. It never felt right writing songs for other people to sing, though.

Our poets do not write about it; our artists do not try to portray this remarkable thing. I don't know why. Is nobody inspired by our present picture of the universe? The value of science remains unsung by singers... This is not yet a scientific age.

As far back as I remember, long before I could write, I had played at making stories. But not until I was seven or more, did I begin to pray every night, "O God, let me write books! Please, God, let me write books!"

When I start to write a song, I initially fall into patterns and creative habits that are familiar, and because they're familiar, they sound convincing. It's important for me to not pursue those ideas, because I've already done them, but to find ideas that are different and feel strange to write and disconcerting to write.

It's hard enough to write a good drama, it's much harder to write a good comedy, and it's hardest of all to write a drama with comedy. Which is what life is.

The minute I landed back in Alaska, it was back to hip boots and fish guts. This cultural flipping wasn't easy - especially on top of the post-divorce fighting that was still going on between my parents. But this is why you don't write a memoir at age fourteen.

I try to be outraged by things that other people are just very accepting of, as though they're normal and can't be changed. A lot of what I write about is, 'Hey, you know, this stuff is really awful, and it doesn't need to be, and that's why it's so offensive.' Things should be better.

Who is he that shall control me? Why may not I act and speak and write and think with entire freedom? What am I to the universe, or, the unvierse, what is it to me? Who hath forged the chains of wrong and right, of Opinion and Custom? And must I wear them?

I write very raw, ugly, illiterate first drafts very quickly (novels are always in first draft in under a year) and then I spend years and years fine-tuning, revising, editing, etc. What inspires me? Who knows. I am not inspired that much. That’s why I write long form fiction - I am not much of a short story writer. Ideas come seldom, but when a good one comes, I really stick to it and see it out. I’m a problem-solver - I've never thrown out an entire manuscript; I've always forced myself to repair it until it was a lovable thing again.

I have a hard time expressing myself when I'm emotional, so my family has done this forever. We write each other letters if we're fighting or whatever. And my dad's a writer, but we write each other letters because we feel that it's easier to get out what you're truly saying if you write it down.

I write a letter to my mother every day, because in that letter, I write down my day. And if I don't write it down, then tomorrow I will forget it and it's gone.

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.

Why would you not have a robot that looks like Abraham Lincoln? Why would it look like an erector set? Why use a computer with a punchcard, when you could use one with a touch pen on the screen? Why a car, when you could use a jetpack?

O ay, letters - I had letters - I am persecuted with letters - I hate letters - nobody knows how to write letters; and yet one has 'em, one does not know why - they serve one to pin up one's hair.

Somebody who had read Lila asked me, ‘Why do you write about the problem of loneliness?’ I said: ‘It’s not a problem. It’s a condition. It’s a passion of a kind. It’s not a problem. I think that people make it a problem by interpreting it that way.’?

Gotta keep it peace like a buddhist Nobody gonna Wesley snipe me It's less than likely, Move back, Let I breathe Jedi knight, The more space I get the better I write, (Oh) Never I write, but, if, ever I write, I need the space to say whatever I like.

So here is why I write what I do: We all have futures. We all have pasts. We all have stories. And we all, every single one of us, no matter who we are and no matter what’s been taken from us or what poison we’ve internalized or how hard we’ve had to work to expel it – – we all get to dream.

Part of me isn't that interested as a person and a viewer in people's personal lives. I'm much more interested in what people do in the workplace and what goals they set themselves. I guess that's why I write a lot of precinct drama.

If I could express the same thing with words as with music, I would, of course, use a verbal expression. Music is something autonomous and much richer. Music begins where the possibilities of language end. That is why I write music.

Book writing is not a get-rich-quick scheme. Anyone who decides to write a book must expect to invest a lot of time and effort without any guarantee of success. Books do not write themselves and they do not sell themselves. Authors write and promote their books.

You know, why at the end of your life should you assemble thousands of pages of 'Why am I so sad, why am I so depressed?' Instead, assemble thousands of pages of why you're so content.

I’ve always wondered why love has to be so full of conflict and strife. Why can’t love be simple? Why can’t it just be as pure as two people who realize that they can’t live as well, or as happily, apart as they can together?

By helping readers understand these mechanics, I hope they will appreciate why freedom is for everyone, why it is essential for our security and why the free world plays a critically important role in advancing democracy around the globe.

The military is a very cool world to write about. I went down to Ft. Benning, Ga., for military training, and I learned a lot about soldiers and officers and why they joined up and what their life has been like.

When we write songs, we don't ever sit down to write an Old Dominion song. We just sit down to write the best song we possibly can.

Read good books. Read bad books - and figure out why you don't like them. Then don't do it when you write. If you are a science fiction or fantasy writer, going to conventions and attending panels is very useful.

You'll attract the employees you need if you can explain why your mission is compelling: not why it's important in general, but why you're doing something important that no one else is going to get done.

I like to joke that you usually write more books before death than after death, so that's why I'm doing it. But really, I remain engaged with ideas. There are so many things happening that turn me on and I just want to examine them.

It was an interesting thing to do. Why did I write any of my books, after all? For the sake of the pleasure, for the sake of the difficulty. I have no social purpose, no moral message; I've no general ideas to exploit, I just like composing riddles with elegant solutions.

I'm half-black, half-white, so I basically put it like this: I can fit in anywhere. That's why I write so many stories from so many different perspectives, because I've seen so many.

But no matter what love throws at you, you have to believe in it. You have ot believe in love stories and prince charmings and happily ever after. That's why I write these songs. Because I think love is FEARLESS.

When you die and go to heaven our maker is not going to ask, 'why didn't you discover the cure for such and such? why didn't you become the Messiah?' The only question we will be asked in that precious moment is 'why didn't you become you?'

It's good for people to be able to see an archive of an artist learning how to write and getting better, especially for teenagers who are starting to write: to see that I started out making pretty easy and weird and bad-sounding music and that you can teach yourself how to write over a long period of time.

I couldn't make myself write serious; I was surrounded by serious: in monographs, in articles, in my own dissertation prospectus, in the very earnest e-mails of students telling me just why that paper couldn't be in on time, cross their hearts and hope to get an A-minus.

Every time you finish something ... you figure you've finally learned to write, right? Then you start something else and it turns out you haven't. You have learned how to write that story, or that book, but you haven't learned how to write the next one.

Women have had the vote for over forty years and their organizations lobby in Washington for all sorts of causes; why, why, why don't they take up their own causes and obvious needs?

There is sometimes a feeling in crime fiction that good writing gets in the way of story. I have never felt that way. All you have is language. Why write beneath yourself? It's an act of respect for the reader as much as yourself.

I am bipolar, and I am proud. And that is why I wanted to write a book. To shine a light on mental illness, to be vulnerable about the days I let it take control and paid dearly for it, and to tell anyone fighting a similar battle: You are not alone. You are not broken.

I should write a book. I've always wanted to write a book. I should write a book about kids who see dead people.

I write my first draft by hand, at least for fiction. For non-fiction, I write happily on a computer, but for fiction I write by hand, because I'm trying to achieve a kind of thoughtless state, or an unconscious instinctive state. I'm not reading what I write when I wrote. It's an unconscious outpouring that's a mess, and it's many, many steps away from anything anyone would want to read. Creating that way seems to generate the most interesting material for me to work with, though.

I gradually understood why European mothers aren't in perpetual panic about their work-life balance and don't write books about how executive moms should just try harder: Their governments are helping them - and doing it competently.

Teens are not like the weird, dumb dwarves you have around your house. They are actually you when you were younger. Why not write a book which is as sophisticated as a book for an adult, but is about the concerns that teenagers actually have?

I've reached a point in life where it would be easy to let down my guard and write simple imagistic poems. But I don't want to write poems that aren't necessary. I want to write poems that matter, that have an interesting point of view.