Top 1200 Writer's Voice Quotes & Sayings - Page 16

A woman with a voice is by definition a strong woman. But the search to find that voice can be remarkably difficult.

It didn't occur to me that I could be a writer until college. I saw all these people around me training to be doctors, or historians, or C.E.O.'s or whatnot, and I thought, Maybe I want to be a writer.

Those people should not be listened to who keep saying the voice of the people is the voice of God, since the riotousness of the crowd is always very close to madness.

I wasn't entitled to dream so big. The idea of me being a writer wasn't even possible in my mind. Even when I began to write and first published, I couldn't call myself a writer.

You never know if you're a writer. You can't trust it. If you woke up and said, "I'm a writer," it would be gone. You wouldn't see anything for miles - even the dust would be running away.

I wanted to be a writer all my life. Since I was 10. And then at a certain point I began to assume I was one, which is rich, I know. I didn't meet a writer until I was nearly an adult, so I had no idea what I'd bet the farm on.

I've had people who see all my characters as Native, even if they aren't. It's kind of like assuming all a writer's characters are really female because the writer is a woman. I've learned to let that go.

I was probably 35 when I wrote the first story. The voice is kind of a mix in that it has a young voice, but it's also someone who's looking back. I like that kind of double vision.

Joy is the sweet voice, joy the luminous cloud. We in ourselves rejoice! And thence flows all that charms or ear or sight, all melodies the echoes of that voice, all colours a suffusion from that light.

My mentor made me say a poem over and over. 'Stop! That's not your voice. Start again.' I was sobbing by the end, but it drilled into my head that my voice is important.

My voice is distinctive: there's a rhythm to it, and also, it's funny. I was just blessed with a funny-sounding voice.

With the invention of the blog and all this Internet stuff, everybody has an opinion; everybody has a voice. In fact, there was a time when the average person didn't have a voice so you had to pick an artist to speak for you.

I came to New York after Bennington College and trained as a singer. I lived on the West Side and I went to my voice lessons. That was a wonderful part of my life and I really thought that I could go somewhere with my voice.

Froi heard Zabat's voice echo over and over again throughout the gorge. Wonderful. The gods had found a way of multiplying the idiot's voice.

I still feel like I have a lot of growing up to do 'til I find the voice. You know, everybody has their own voice and their own thing they want to say to the world.

There is a voice in the Universe urging us to remember our purpose for being on this great Earth. This is the voice of inspiration, which is within each and every one of us.

My mission is to communicate, to wake people up, to give them my energy and accept theirs. We're all in it together, and I respond emotionally as a worker, a mother, an artist, and a human being with a voice. We all have a voice. We have the responsibility to exercise it, to use it.

My voice is for hire. My endorsement is not for hire. I will do a voice-over, but I cannot endorse without making a different kind of commitment. My politics are very personal and subjective.

Every writer, big or small, needs to say or write that the genius is always hissed at by his contemporaries. Naturally, this is not true, it happens only occasionally and often by chance. But this need within the writer is enlightening.

I still feel like I have a lot of growing up to do 'til I find the voice. Everybody has their own voice and their own thing they want to say to the world.

When I was a young writer if you went to a party and told somebody you were a science-fiction writer you would be insulted. They would call you Flash Gordon all evening, or Buck Rogers.

It's also true, however, that having conquered the regional writer ghetto, I am now intent on conquering the nationalist writer ghetto and moving out into the world more.

Sometimes, I record rough patches of tunes and take them to directors. They choose to retain my voice. Personally, I don't like my voice, and never want to record.

Let the writer take up surgery or bricklaying if he is interested in technique. There is no mechanical way to get the writing done, no shortcut. The young writer would be a fool to follow a theory. Teach yourself by your own mistakes; people learn only by error. The good artist believes that nobody is good enough to give him advice. He has supreme vanity. No matter how much he admires the old writer, he wants to beat him.

I believe that the voices of fear, both from without and within, can only be dispelled by trusting the voice that comes from the heart. Be still and listen to it. If it speaks of love and compassion for others, for the world itself, it just might be the voice of God - or a reasonable facsimile. If, however, it snarls with fear of the unknown, fear of losing what you have or of not getting what you want, then it just might be the voice of Rupert Murdoch - or a reasonable facsimile.

I don't like to work with directors who have taken an adoption from another script writer, because it's too much: one of them writes it and then has to explain it to the other, or maybe the director sees it in a way the writer doesn't want it.

Being a minority voice is still brave - even if the minority voice is from the right wing.

The voice I use is a very old hardware speech synthesizer made in 1986. I keep it because I have not heard a voice I like better and because I have identified with it.

I always get pissed that I can't make my voice sound like someone from the 50s who had a very girly, innocent voice, like Leslie Gore.

The whole thrust of theatre is different, just because the writing is so much more respected in a play. Whereas in movies - and having been the writer, I can say from experience - the writer is lower down on the food chain.

I'm developing more stuff in my voice, more Nick Swardson. It's me as myself in a sense and kind of in my voice, no accent no affectation. I'm growing into my own persona.

I like reading the world through a writer's eyes, rather than seeing a writer looking at him or herself as if at the center of gravity of the world around them.

I knew how to be a voice for L.A., I knew how to be a voice for Detroit, I knew how to be a voice for London, I knew how to be a voice for Amsterdam.

You never know if you're a writer. You can't trust it. If you woke up and said, 'I'm a writer,' it would be gone. You wouldn't see anything for miles - even the dust would be running away.

It is difficult to call myself a writer, even when I stand at a podium to receive a prize, I feel uncomfortable calling myself a writer—I am merely a word criminal.

The man who comes to writing late, but is in essence a writer, may sometimes gain as much as he has lost: his experience of life has given him a subject, he is spared the youthful writer's self-torment and soul-searching.

Your voice is your tool and represents you. It's very important to have a good voice where you can be understood.

Listening to the inner voice - trusting the inner voice - is one of the most important lessons of leadership.

If you want to get into the business of doing voices for cartoons, you've got to be a good actor. It's all about acting. It's not about the voice. The voice is just one part of what you bring to the character.

I love doing voice-overs; I wish I could do more of them. It's a lot of fun to see how they take the voice and animate it and try to capture your own expressions and features. It's fascinating.

I used a video camera, and shot on film cameras at school and stuff, but I had a lot more training as a writer. I kind of live like a writer. I get up and I write. I've done that my whole life.

The writer's only responsibility is to his art...If a writer has to rob his mother, he will not hesitate; the 'Ode on a Grecian Urn' is worth any number of old ladies.

I suffer depression only in the sense that I am a writer. We don't have proper jobs to go to. We are on our own all day. Show me a writer who doesn't get depressed: who has a completely stable mood. They'd be a garage mechanic or something.

I think the press does, too; it's just the few crazies and paparazzi that give them a bad name. Real writers write good things. My daughter's a writer, and she's a quality writer.

Muses are fickle, and many a writer, peering into the voice, has escaped paralysis by ascribing the creative responsibility to a talisman: a lucky charm, a brand of paper, but most often a writing instrument. Am I writing well? Thank my pen. Am I writing badly? Don't blame me blame my pen. By such displacements does the fearful imagination defend itself.

I've always been curious about people's psychedelic experiences, and I kind of had this assumption that I was going to have some kind of crazy mindblowing psychedelia thing happening, but actually, it was very quiet, and I didn't have any hallucinations at all. Nothing changed, except that suddenly I could hear the voice of my conscience, which I didn't ever think of as being a real voice. And ever since having that experience, I've had that voice in my head and followed it occasionally.

I'm a writer! If you work in an office, it dampens you. It makes you fit a routine. The effect of being a writer is not dissimilar to being long-term unemployed. And everyone knows that is not good for you.

There are writers you admire, for the skill or the art, for the inventiveness or for the professionalism of a career well spent. And there are writers-sometimes the same ones, sometimes not-to whom you are powerfully attracted, for reasons that may or may not have to do with literary values. They speak to you, or speak for you, sometimes with a voice that could almost be your own. Often there is one writer in particular who awakens you, who is the teacher they say you will meet when you are ready for the lesson.

I earn a lot of money in England doing voice-overs, especially in documentaries. Turn on the Discovery Channel here, and you'll hear my voice a lot. It subsidizes my vice of acting in the theater.

I am not anxious to be the loudest voice or the most popular. But I would like to think that at a crucial moment, I was an effective voice of the voiceless, an effective hope of the hopeless.

I have always wanted what I have now come to call the voice of personal narrative. That has always been the appealing voice in poetry. It started for me lyrically in Shakespeare's sonnets.

You have a lot of companies developing stuff that's just derivative. If 'The Voice' is the No. 1 show on TV, they say, 'Let's do 100 different versions of 'The Voice.' The problem is, by the time you get to market, it's already saturated, and everybody hates the format.

One of the things I learnt over the years is that there is a craft to writing, like there is a craft to acting. I hadn't done my apprenticeship as a writer. I did try to be a writer for hire but I'm not any good at it.

I knew I wanted to be a writer. Where I came from, no one was a writer. I came from Long Island, and everyone became a doctor or a lawyer or an engineer or a teacher or a businessman. I didn't know any writers.

The fear of your own solitude, of its vast surface and its infinity… Remorse is the voice of solitude. And what does this whispering voice say? Everything in us that is not human anymore.

Books and newspapers assume a "common reader" that is, a person who knows the things known by other literate persons in the culture. Obviously, such assumptions are never identical from writer to writer, but they show a remarkable consistency

Whether that be starting conversations about environmental conservation or taking part in being a voice for people who don't have a voice, I just want to help people however I can.

What originates everything are the emotions, the feelings, what we call soul. Then the brain commands these feelings to the voice. The voice is just the vehicle; it's the very last step in the chain.

The story knows itself better than the writer does at some point, knows what's being said before the writer figures out how to say it.

What's great about [Guettel] is his very distinct voice as a composer. And that distinct voice is something worth cherishing and expressing so we just didn't want to screw that up.