Top 1200 Writer's Voice Quotes & Sayings - Page 18

I try to look after my voice. I am very aware that if I am going to be doing a voice over the next day or on the radio, not to go out to a really noisy place or shout.

I am a writer... I am a genius of a writer; I have it in me. I am writing the best poems of my life; they will make my name.

Everyone who knew me as a child, they say they're not surprised that I became a writer because I wrote all the time. I don't remember writing, because I wouldn't have had the tools, but I think what they are saying is that I would pretend I was a writer.

There is a certain highlighting of issues, be it emotional, be it social, or simply an entertainment one: they can be written or directed by a woman differently, with a different voice. I feel that their voice needs to be given more stage and more space.

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. To me, he's a great actor.

As a matter of fact, when compression technology came along, we thought the future in 1996 was about voice. We got it wrong. It is about voice, video, and data, and that is what we have today on these cell phones.

I was thinking about the difference in voice between the different characters. Each voice has to be unique. Hypothetically you should be able to read each chapter without the heading that tells you who is telling the story.

Every now and then, a writer emerges who just gets better and better. These are the really exciting ones to encounter. Their novels carry the promise of so much more to come. Warwick Collins is one such writer.

I hate thinking about writer's block! I don't have writer's block much, knock on wood, but if I do, I think it's usually because I haven't done enough research and am therefore unable to create a fully realized world.

I think writer's block is simply the dread that you are going to write something horrible. But as a writer, I believe that if you sit down at the keys long enough, sooner or later something will come out.

I write five, six days a week. The thing is capturing the voice. I feel like I've been perfecting one voice - in different iterations, sure, but the Russian-ness has always been the undercurrent.

I see the author as the person who has written; the writer, the one involved in the process of writing. And they're not necessarily friends. The writer is the one I want to reinforce; the author would just feed on the reviews - so I'm in favour of starving him.

His forward voice now is to speak well of his friend. His backward voice is to utter foul speeches and to detract.

If the writer were more like a reader, he’d be a reader, not a writer. It’s as uncomplicated as that.

For me, an ideal novel is a dialogue between writer and reader, both a collaborative experience and an intimate exchange of emotions and ideas. The reader just might be the most powerful tool in a writer's arsenal.

Starting out, I bet I didn't get a lot of parts because of my strange voice. I'm not consciously thinking, 'Hey, sound like a squeaky dog toy mixed with a bagful of rusty nails.' It's just what my voice has done.

After [Bill Shawn] was fired, I was going to the YMHA [Young Men's Hebrew Association] on the Upper East Side to do a talk on free speech.I went into a coffee shop to get a piece of pie and a coffee, and I was reading a paper and I hear a voice. And it was -it was not a voice I was familiar with, but I looked across the table and I saw Lilian Ross.And sitting next to her was William Shawn - no tie, needed a shave. His voice was kind of coarse and rather loud. He wasn't drunk, but I was just stunned.

I put my energy, voice, and spirit into fighting for anybody who wants to speak their voice. I don't care what the right wing, the left wing, or the chicken wing has to say.

It is my birthright, it is my political right, it is my democratic right, it is my constitutional right... that I must open my mouth... my voice... I can raise my voice.

There were always men looking for jobs in America. There were always all these usable bodies. And I wanted to be a writer. Almost everybody was a writer. Not everybody thought they could be a dentist or an automobile mechanic but everybody knew they could be a writer. Of those fifty guys in the room, probably fifteen of them thought they were writers. Almost everybody used words and could write them down, i.e., almost everybody could be a writer. But most men, fortunately, aren't writers, or even cab drivers, and some men - many men - unfortunately aren't anything.

Criticism is, for me, like essay writing, a wonderful way of relaxation; it doesn't require a heightened and mediated voice, like prose fiction, but rather a calm, rational, even conversational voice.

Many hated 'Selma.' Just because my voice and the voice of the people I come from is antithetical to so much of what Hollywood produces. I don't think what I'm saying is in particular radical or anything; it's just different from what they want to sell.

Few [books] get translated and the ones that do have trouble making it into the mainstream. It's more likely that Americans will discover another culture through an American writer rather read a writer from that culture.

As a writer, it's a great narrative tool to have that character who is slightly detached but at the same time observant of his reality, because I think that's pretty much what being a writer is - being there, watching and internalizing.

Writing is a lonely job. Even if a writer socializes regularly, when he gets down to the real business of his life, it is he and his type writer or word processor. No one else is or can be involved in the matter.

Choosing the narrator for a first-person story like 'Downriver' is a crucial decision because the voice has to be one the reader wants to listen to, and the voice has to be a match for the emotion you want the story to carry.

I really enjoy picking up the physical rhythm of somebody else, speaking with their voice. I've never done in anything in my own voice, and I can't imagine what that would be like. It would be weird, I guess.

I sing the best when I'm really in my voice. It's kind of like I'm meditating but I sort of imagine my voice as a physical thing. I see colours, I feel it moving out of me and I try to tap into images that I was tapping into when I was writing the song.

Nothing can destroy the good writer. The only thing that can alter the good writer is death. Good ones don't have time to bother with success or getting rich.

It's fun to use all of my range; there are so many different colors and textures that come out, revealing different parts of my voice. I know what my voice is capable of, and I try to fit it to each song, evoke a mood.

I'm not kidding myself. My voice alone is just an ordinary voice. What people come to see is how I use it. If I stand still while I'm singing, I'm dead, man. I might as well go back to driving a truck.

When you decide 'to be a writer,' you don't have the faintest idea of what the work is like. When you begin, you write spontaneously out of your limited experience of both the unwritten world and the written world. You're full of naïve exuberance. 'I am a writer!' Rather like the excitement of 'I have a lover!' But working at it nearly every day for fifty years ? whether it is being the writer or being the lover ? turns out to be an extremely taxing job and hardly the pleasantest of human activities.

Literature is a place for generosity and affection and hunger for equals - not a prizefight ring. We are increased, confirmed in our medium, roused to do our best, by every good writer, every fine achievement. Would we want one good writer or fine book less? The sense of writers being pitted against each other is bred primarily by the workings of the commercial marketplace, and by critics lauding one writer at the expense of another while ignoring the existence of nearly all.

I began running on an everyday basis after I became a writer. As being a writer requires sitting at a desk for hours a day, without getting some exercise you'd quickly get out of shape and gain weight, I figured.

I am a writer, and the duty of a writer is not only to furnish pleasant pursuits for the mind and taste: he will be held accountable if things useful to the soul are not disseminated by his works and if nothing remains after him as a precept for mankind.

We learn a language through its song, and even if you don't have music you have the song of people you love's voice, and you'll notice that song in their voice.

How am I doing so far?" she asked, forcing a cheerful lightness into her voice. "You're doing very well," Nick's lazy voice mocked. "I'm half convinced that I'm invisible.

I have agreed to lend my voice to Nature's Guard, an animated series which hopefully will go into production in the near future. The characters are all animals. My voice will be for a character named Longtail.

It's OK just to be a writer, who writes about the society in which he lives and the issues that most important. Now how can that not be a writer, it always was. It's just recently that writers have been reduced to these playthings of the market.

I love doing the voice of Batman because of the quality of the animation. The music is particularly incredible. Another bonus is getting the opportunity to work with some very respected actors who do not usually do voice work.

I didn't have a burning desire to be a writer or director - writer probably more so, certainly not a director.

But no one except Lucy knew that as it circled the mast it had whispered to her, "Courage, dear heart," and the voice, she felt sure, was Aslan's, and with the voice a delicious smell breathed in her face.

I have an opportunity to give a voice to those who have no voice. Even though film production wasn't a bucket list item for my life, what I have been passionate about is creating change and impacting society - especially bringing conversations forward on formerly taboo subjects.

It helps to know from a very early age what you want to do. From the time I was five years old, I wanted to be a writer, even though I couldn't even read. It was mainly because I thought of my father as a writer.

All I've wanted to do is write. In school I just wanted to be a writer but I was afraid to be a writer because I felt I couldn't. It didn't really feel like my writing was interesting enough, so getting a book published was a huge kick.

Literature taught me that I wasn't alone, that I could become a writer if I worked at it, that my story mattered. Whether a young reader becomes a writer or not, they deserve to know that their story, whatever it may be, is important.

The first draft is for YOU, the writer; the second and subsequent drafts are for the reader. Trying to do both things at once — figuring out what we want to say, while also fashioning it for another human being to read — is the cause of writer’s block.

I'm not going to do anything that will damage my voice because my voice is my career and singing is my passion. I was singing in the cot and I'll still be singing when they're nailing down my coffin.

I'm a writer; I've worked as much as a writer as I have as an actor, so I was in a script-note session at Imagine for a TV show I wrote that they were producing, and they happened to say, 'You'd be great as Crosby, do you want to do this show we're doing, 'Parenthood?'

The writer's no different. When he's rejected, that paper is rejected, in a sense, a sizeable fragment of the writer is rejected as well. It's a piece of himself that's being turned down.

Every book I write, the first thing I have to do is get into the voice, and the voice varies from book to book - that's part of what's interesting to me.

When I'm editing my work, I'm looking for everything to fit, to feel seamless, for every detail or line of dialogue or scene to feel necessary and organic. I approach the writing of others in much the same way while always working to preserve the writer's voice. To allow myself to be vulnerable on the page, I tell myself no one is going to read my work. There's no way I could put myself out there otherwise.

Some of the worst writing around suffers from inert verbs and the unintended use of the passive voice. Yet the passive voice remains an important arrow in the rhetorical quiver. After all, it exists for a reason.

The writer is often faced with two choices--turn away from the reality of life's intimidating complexity or conquer its mystery by battling with it. The writer who chooses the former soon runs out of energy and produces elegantly tired fiction.

You become a writer because you need to become a writer - nothing else.

Most of the books that I've written have been focused on, sort of, the individual, and sort of, either a voice, a personal voice, or a kind of transforming event where they step forward to fight for something they value.

I probably am a cranky writer, but I am actually a fairly nice, normal person. Since I'm a grouchy writer, of course I have friends whose books are doing way better than mine.

I knew I wanted to be a writer before I knew that being a writer was possible.

For a short-story writer, a story is the combination of what the writer supposed the story would likely be about - plus what actually turned up in the course of writing.

Organizations for writers palliate the writer's loneliness, but I doubt if they improve his writing.... For he does his work alone and if he is a good enough writer he must face eternity, or the lack of it, each day.