Top 1200 Writer's Voice Quotes & Sayings - Page 15

Nobody can swashbuckle a quick-witted riposte like Emma Thompson. She's a writer, a real writer, and she has a relish for the well-chosen word.

If your inner voice is telling you that you can't paint, by all means, hurry up and paint and silence the voice.

My own singing voice is not very good and I don't think that anybody really sings in their own voice.

Most written work is a conversation between the editor and the writer, that the writer essentially fulfills in public, and the editor provides the stage for that to happen as well as the prompts.

I've got no deep voice today. I've got a cold. But when I was young, I had a high tenor voice.

Colossus' voice is not much different than mine, as Tim loved my natural color and range of voice, so we kept it and worked more on the Russian accent. The best note I received was to be authentic.

To call someone like me a writer-activist suggests that it's not the job of a writer to write about the society in which they live. But it used to be our job.

Mel Blanc is a hero because of what he could do with his voice for all the Looney Tunes, the Warner Brothers cartoons, to be the voice of Bugs Bunny, Daffy Duck, Elmer Fudd, Porky Pig.

For one thing, I teach my students what my teacher for twenty years, Paul Gavert, told me, 'The voice follows... the voice follows everything about you... who you are.'

The dog who doesn't bark is about a silence that speaks; it is a good metaphor for the Pariah voice, the dog's voice, that we can sometimes hear only when it does not speak.

I knew that I wanted to be a writer even before I knew exactly what being a writer entailed

Originally when I went off to work on 'The Lord of The Rings' I got a call from my agent saying that I was just going to do a voice. But I couldn't really approach it like that. To get Gollum's voice I had to play the character.

I can't explain inspiration. A writer is either compelled to write or not. And if I waited for inspiration I wouldn't really be a writer.

The only way to find your voice is to use it. It’s hardwired, built into you. Talk about the things you love. Your voice will follow.

Sweet to me was not the voice of man, But the wind's voice was understood by me. The burdocks and the nettles fed my soul, But I loved the silver willow best of all.

Voice acting is very creative, especially 'Star Wars' voice acting, because there's so much you have to imagine.

But it's for every writer to decide his own pace, and the pace varies with the writer and the work.

I had to change the shape of my own voice. It was quite hard to pull off and so once I had it, I stayed in Hitchcock's voice all day on set.

The song seraphically free Of taint of personality, So pure that it salutes the suns The voice of one for millions, In whom the millions rejoice For giving their one spirit voice.

You know, your speaking voice comes back, but your singing voice you use in a different way.

The good writer, the great writer, has what I have called the three S's: the power to see, to sense, and to say. That is, he is perceptive, he is feeling, and he has the power to express in language what he observes and reacts to.

Television's very much a writer's medium, as it probably should be, but if you're not the writer, then as the performer, you defer to that. It's just kind of how it's constructed. Is there some leeway? Yeah. But I also don't want to come across as a jerk.

I have a very clear understanding of what my voice is. It's like a B voice. It hovers around B-minus, B-plus. I have great friends who are wonderful singers, and I know I'll never be able to do that. But singing through a character is something I can do.

My voice, at first rough and breaking on the high notes, warms up into something splendid. A voice that would make the mockingjays fall silent and then tumble over themselves to join in.

On the news two dozen events of fantastically different importance are announced in exactly the same tone of voice. The voice doesn't discriminate between a divorce, a horse race, a war in the Middle East.

I really worked very hard to bring my voice back because I used to have a good voice, and to try to do my exercises that I remember from Yale and all the things in the olden days, clearing your sinuses and all that.

My novel got published, and I became a paid writer, which was nice, and then it came out, and nobody bought it, so I became an unemployed writer again.

I love animals, always have, and it seemed natural to help the ASPCA. Animals have no voice of their own, so we have to be that voice

I focus a lot on my voice because I want it to be an instrument as well. I want my voice to add color.

When I read to children, I try to become the characters. It's great if you can make a separate voice for each character. Sometimes you can lower your voice with excitement or get more intimate about it: you can lean forward and engage the children as a narrator or as a reader. It's particularly important that you find the voice that you want to use for each character, because then children can imagine that person as you're reading aloud. And of course, the illustrations help enormously.

My writing voice is very much like 'Thank You for Smoking.' It's a guy's voice. It's very masculine.

Be a voice for the future and a voice for the planet.

I knew that I wanted to be a writer even before I knew exactly what being a writer entailed.

The regional voice is the universal voice.

The voice of the people, the voice of God.

Elvis's voice was unique. Like so many others, he had natural, technical ability, but there was something in the humanity of his voice, and his delivery.

It wasn't a decision to become a writer. I wanted to become a writer of crime fiction. I was very specific.

[Lev] Tolstoy is not a boy-writer. He's a grown-up. And [Fedor] Doestoeivski is not a boy-writer.

It was only the matter of a new voice. Nobody listened to an old voice anymore. Old voices became a part of one's self, like a fingernail.

But it's for every writer to decide his own pace, and the pace varies with the writer and the work

For some reason in today's society, people look up to football players and you have a voice. And it's because of that voice you have the opportunity to impact people's lives.

A serious life, by definition, is a life one reflects on, a life one tries to make sense of and bear witness to. Truth in a memoir is achieved not through a recital of actual events; it is achieved when the reader comes to believe that the writer is working hard to engage with the experience at hand. What happened to the writer is not what matters; what matters is the large sense that the writer is able to make of what happened.

The voice thing is a blessing that I was given. I've had opportunities to do voice work of all kinds. It was something that was given to me and I was able to make good use of it.

Early on, I started with classical voice and had that wonderful foundation. For where I wanted to go at that time, there were no teachers to teach it, so I came up with all kinds of different ways to develop the sound of my voice.

The voice over is a hat you put on right now as opposed to worrying about going through wardrobe, and having to look a certain way. You just got to let your voice do the talking for you.

The process of finding my voice as SpongeBob was to start by watching what Tom Kenny did, trying to do an impression of sorts, and then forgetting all about it and letting the voice become a second-nature thing.

Part 5 The Voice- Make that my voice

Mariah Carey is my favorite singer because her voice sounds utterly groundless. It's not even a human voice; it almost sounds mechanical.

When you are writing literary writing, you are communicating something subtextual with emotions and poetry. The prose has to have a voice; it's not just typing. It takes a while to get that voice.

Lightfoot's voice is such a part of the fabric of Canada, I know it almost as well as I know my own voice.

It is never about how good your voice is; it is only about feeling the urge to sing, and then having the courage to do it with the voice you are given.

Writing happened to me. I didn't decide to start writing or to be a writer. I never wanted to be a writer.

Just writing a lot doesn't necessarily make you a better writer. You have to hear yourself as a writer, and the best way to do that is to read your writing out loud.

The voice of the people is the voice of humbug.

Prayer is not monologue, but dialogue; God's voice is its most essential part. Listening to God's voice is the secret of the assurance that He will listen to mine.

The voice for 'Surly' is, of course, very close to my own voice, but it's informed a lot by this story, by the arc and the animation and working with the whole creative team on 'The Nut Job' in finding what really works.

I love animals, always have, and it seemed natural to help the ASPCA. Animals have no voice of their own, so we have to be that voice.

For one thing, I teach my students what my teacher for twenty years, Paul Gavert, told me, 'The voice follows... the voice follows everything about you... who you are.

The community in which one hears the voice of God structures how one hears that voice and interprets what it says.

I know there are a lot of people out there who have the best intentions but not the voice, so it's about people like me to give them a voice and hear their ideas.