Top 1200 Writer's Voice Quotes & Sayings - Page 20

Real guts are nothing more than developing your inner voice to the point where it is louder and stronger than the voice of your fear.

That's a really good question - what is it like living with a writer? I guess it depends on the writer. You know what? They live in a fantasy world a lot of the time. My husband lives in a fantasy world.

When I think about myself as a writer, for sure I am a science fiction writer. The tools of extrapolation, the tools of anticipating the future - those are science fictional questions.

I think it's really important that women support each other. I've heard of a very successful female director saying she doesn't identify as being a feminist or a woman in Hollywood. And I understand that, but I feel so differently. It's so important to identify as a woman and have a voice, to understand that it's different from a male voice, and to understand the nuances that go into that. I love women. I think I'm a girl's girl. It's super important that we have a voice in the industry.

As I grew older and got into the late teens and early 20s, I wanted to be a voice of the people. You know, getting locked up all the time and going through so much oppression and seeing it all around myself, I wanted to be a voice for it.

I do like to work on a Marvel method, so if I've got the opportunity, and the writer is happy to do it, I like to have a writer detail what happens on a page, but not saying what happens in every scene.

If you're a voice for a community, then you're a voice for something more than yourself. I want to have an impact, because I don't want anybody to have to go through what I went through.

I sometimes feel like a British writer more so than I feel like an American writer. But I think that has to do with my subjective understanding of what it means to be either of those things.

In life, finding a voice is speaking and living the truth. Each of you is an original. Each of you has a distinctive voice. When you find it, your story will be told. You will be heard.

And I am a writer, writer of fictions I am the heart that you call home And I've written pages upon pages Trying to rid you from my bones.

My voice is unadorned. I don't try for perfection. I try to be honest and truthful and soulful with the voice I have. If I make mistakes in notes, or there are cracks in notes, I don't fix them. That's the way it is.

First of all you are a writer, a writer is what you are, so it doesn't actually stop the moment you leave your desk, your computer, your keyboard, whatever. Something is operating the back of your mind.

I know my voice has a limited range of motion; I don't write dramatic monologues and pretend to be other people. But so far, my voice is broad enough to accommodate most of what I want to put into my poetry. I like my persona; I often wish I were him and not me.

Heroism works in contradiction to the voice of mankind and in contradiction, for a time, to the voice of the great and good. Heroism is an obedience to a secret impulse of an individual

I like to use my voice as an instrument and just play along with the music. That's really how I tend to my voice. The content usually comes after or during that process of just trying to be an instrument.

They said my voice was terrible, nervous, and spotty and that I must go away and learn how to use it properly. I must admit I was rather agape, since I had never thought about making my voice better.

When I was about forty-three years of age, I had a private secretary with a beautiful baritone voice. I told him I would give anything in the world if I could only carry a tune. He laughed and said, 'Anybody who has a voice and perseverance can sing.'

I think it's all to the good that a writer shouldn't be too famous. Because, in a country where a writer may be famous, he may be pandering to the mob, celebrity and so on.

I'm very much, like, 'We've all got to help each other.' If there's a new female writer, I'm much more likely to read her book than if it's by a new male writer.

I wanted to be a writer. I still want to be a prose writer. I feel I am more temperamentally suited to that kind of life, although there are things I still want to do with music.

Don't be afraid to speak out about what you're passionate about because your voice matters and your voice can, at the end of the day, make a difference.

A writer has a difficult fate, but a Jewish writer has an especially difficult fate. His soul is torn; he lives on two streets with three languages. It is a misfortune to live on this sort of 'border,' and that is what I have experienced.

There’s a writer for you,” he said. “Knows everything and at the same time he knows nothing.” [narrator]It was my first inkling that he was a writer. And while I like writers—because if you ask a writer anything you usually get an answer—still it belittled him in my eyes. Writers aren’t people exactly. Or, if they’re any good, they’re a whole lot of people trying so hard to be one person. It’s like actors, who try so pathetically not to look in mirrors. Who lean backward trying—only to see their faces in the reflecting chandeliers.

There is a reason there is no such thing as a folk writer. But to be a writer you have learn what it takes to captivate a reader in order to make them turn the page. And in order to learn that, you have to read.

Well, when I was a young writer the people we read were Hemingway, Fitzgerald, Sartre, Camus, Celine, Malraux. And to begin with, I was a bit of a copycat writer and very derivative and tried to write a novel using their voices, really.... I keep it out of print.

When I first began to write fiction, I didn't think I was a comic writer; I thought I was a serious writer. I was surprised when the first novel I wrote was regarded as a funny novel.

The ego is not only the unobserved mind, the voice in the head which pretends to be you, but also the unobserved emotions that are the body's reaction to what the voice in the head is saying.

It's a holistic process for me during a show. I'm always focusing on the technical aspects of my voice. I try to make my voice do what I want. One big thing I do to improve on each show is to listen back to performances on CD while on tour.

In the past, I've written my songs and then asked friends if they could record the vocals. I didn't want to use my own voice, because other people have much better voices. I was hearing the music with a voice that I don't have. It was a case of pulling whatever resources I had to get the sound I wanted, but that doesn't take anything away from the authorship. They are songs written by me that sound the way I want them to sound. Whether it's my voice or someone else's doesn't make a difference to the music.

Any writer who gives a reader a pleasurable experience is doing every other writer a favor because it will make the reader want to read other books. I am all for it.

My own words, when I am at work on a story, I hear too as they go, in the same voice that I hear when I read in books. When I write and the sound of it comes back to my ears, then I act to make changes. I have always trusted this voice.

I think that each of us inhabits a private world that others cannot see. The only difference between the writer and the reader is that the writer is able to dramatise that private world.

I have a feeling that about 90% of my life has been shaped by my voice, both as an embarrassment and as an advantage. There was always the terrible incongruity of this deep voice barreling out of this little body. Somewhere in the back of my mind I was aware that it was ludicrous, that it took on an importance that wasn't really there.

A writer has to stand outside the page. It's not for the writer to shed tears onto the pages for these characters. It's not for him to suffer or to laugh or to experience ecstasy or agony in the manner of the characters on the pages.

One of the things you get to do as a writer is that you get to learn new stuff all the time, and I hope that I'm a better writer when I'm 70 than I was when I was 30. That's one of the great things about a literary career.

I think if you want to make a recipe for making a writer, have them feel a little out of place everywhere, have them be an observer kind of all the time. And that's a great way to make a writer.

My mother had a great voice. Not like mine, not like my sister's, not like my son's - a high soprano voice, but like a bird. I mean, really beautiful.

I think I have allowed my voice to experiment with the different genres. And I think that I have just really enjoyed the journey of getting to know my voice and seeing what it's capable of, what it's not capable of.

I had it in my head when I was in college that I wanted to be a writer, but it took me a long time to commit to being a writer. Up until then, I had worked one dead-end job after another while writing on the side.

Live-action films are very much a director's medium, and that director is going to be a very strong voice, a stronger individual voice than you'd have in animation.

I'm hoping to have a huge future in voice-overs. For years, people have said, 'I recognized your voice before I recognized your face!'

Good writers define reality; bad ones merely restate it. A good writer turns fact into truth; a bad writer will, more often than not, accomplish the opposite.

One of the things I learned from my father, and it did not serve me well at all, was that he was a successful writer, he earned a living. And it was a shock for me to find out that it was actually hard to make a living as a writer.

The existence of the writer is an argument against the existence of the soul, for the soul has obviously taken flight from the real ego, but not improved itself, only become a writer.

It's a very dull thing to watch, a writer at work. So dull that whole casts of characters show up just to watch the boring writer writing.

I don't think any songwriter who comes up through playing clubs can really claim to have independently developed their art. All along the way so much information is coming, the writer inside the performer unconsciously reacts to all of that. By the time they get to be thirty, the writer is gone.

I think of myself as a writer with a sense of humour rather than a comedy writer. Happy to tell a story with lots of jokes in it - I wouldn't know how to do jokes without the story.

Each book is a different staging post on the writer's journey, and each book stands by itself, regardless of the writer's relationship to it.

My guiltiest pleasure is Harry Stephen Keeler. He may have been the greatest bad writer America has ever produced. Or perhaps the worst great writer. I do not know. There are few faults you can accuse him of that he is not guilty of. But I love him.

I think writing is a very political act. I think that any writer who says it's not, is simply a writer who is disavowing the political connotations of what they write.

I never really wanted to be a journalist, honestly. I always wanted to be a writer, and I thought the only way to apply that interest was with journalism - when you're young and you want to be a writer, it seems like the most practical thing to do with those types of ambitions.

I always dreamed of being a voice in a Disney movie, and even in those dreams, I never once dreamed of being a princess. I just wanted to be a voice.

I think I'm a vocal genius, not a musical genius. I like background vocals. I consider myself a voice, not a singer. A voice is a sound, and singing is what you do with that sound.

Someday, as an exercise, you might ask a writer to give himself the questions he wants to answer. If you really want a writer's opinions, you have to ask for them. What you read might surprise you.

I'm basic. If it's Sia, I'm gonna like it. Her voice is great. She's ruining her voice though, the way she sings.

I never want kids to walk away after a school presentation and say, 'I met a writer today.' I want them to say, 'I am a writer.'

I wanted to be a writer first, and I struck out in the world to be a writer first, and then found stand-up as a more creative outlet, as a 3D way to be creative.

On a Terrence Malick set, your thoughts are his voice. You think you're thinking, but actually he's thinking for you. He speaks to you, and he's the voice in your mind.

I never thought about being a writer as I grew up. A writer wasn't something I wanted to be. An outfielder was something to be. Most of what I know about style I learned from Roberto Clemente.

If you are a writer, or want to be a writer, this is how you spend your days--listening, observing, storing things away, making your isolation pay off. You take home all you've taken in, all that you've overheard, and you turn it into gold. (Or at least you try.)