Top 1200 Writer's Voice Quotes & Sayings - Page 3

If you're a singer you lose your voice. A baseball player loses his arm. A writer gets more knowledge, and if he's good, the older he gets, the better he writes.

Nowadays, people in the entertainment industry can have a louder voice than politicians, and I think its important that they use that voice to say something positive or to give a voice to somebody thats had theirs taken away.

Every fine story must leave in the mind of the sensitive reader an intangible residuum of pleasure, a cadence, a quality of voice that is exclusively the writer's own, individual, unique.

But I'm pretty lucky with my voice. When I first started touring I went to see a woman to give me some coaching on how not to lose my voice. And she was just saying really your voice is a muscle so if you're using it all the time you should actually come back from tour with a stronger voice than you left with. And that's really how I find it.

Nowadays, people in the entertainment industry can have a louder voice than politicians, and I think it's important that they use that voice to say something positive or to give a voice to somebody that's had theirs taken away.

The voice of the people may be said to be God's voice, the voice of the Panchayat.

Zachary Jernigan's short stories are in deep conversation with the history of the genre while maintaining a thoroughly modern sensibility. Here’s a new writer who has found his voice. Listen to him and enjoy!

I could say that in the essay, as it has developed historically, success is determined by the writer's ability to express, through an individual voice, a collective experience - you are speaking individually but you are representing collectively.

I feel much more physically connected to my voice, and I like the physicality of the voice, and how the voice can physically occupy a song.

When I was running away, I didn't have somebody there to help me run away. All I had was DMX's voice or Eminem's voice or Tupac's voice.

He would catapult you forward, and that was his intention with the Jazz Messengers. He would take young people with a potential and help them develop a voice as a player and as a writer.

Highway One, Antarctica is a wonderful debut by a writer with razor-sharp insights to the human condition. Justin Herrmann is a voice I hope to hear more from, and soon. Excellent collection.

They both listened silently to the water, which to them was not just water, but the voice of life, the voice of Being, the voice of perpetual Becoming.

Garbage. It's a natural quality of huskiness in the midrange of my voice that I call 'garbage.' It's not a clear-toned announcer's voice. It's more like the voice of the guy next door.

I believe that poems are a score for performance by the reader, and that you become the speaking voice. You don't read or overhear the voice in the poem - you are the voice in the poem.

Every writer has his own voice. Other than that I'm always trying to do change-ups and publishers haven't always been happy about that.

With voice overs... you're not thinking about the camera. So your voice becomes this thing that you can manipulate. And depending on the character you're doing, it's all concentration on your voice.

There's the fact that American fiction is basically the most apolitical fiction on the globe. A South American writer wouldn't dare think of writing a novel if it didn't allude to the system into which these people are orchestrated - or an Eastern European writer, or a Russian writer, or a Chinese writer. Only American writers are able to imagine that the government and the corporations - all of it - seem to have no effect whatsoever.

The voice of the intelligence is soft and weak, said Freud. It is drowned out by the roar of fear. It is ignored by the voice of desire. It is contradicted by the voice of shame. It is hissed away by hate, and extinguished by anger. Most of all it is silenced by ignorance.

It's tricky when you're doing a recording, because the only weapon you have is your voice and the delivery of that voice. You don't have a gesture or a facial expression, there are no costumes or set pieces. Everything needs to be present in the voice.

The writer who is literally an addict, the writer who can't help himself, the writer who HAS to write, can never be anything but an amateur, because the industry requires the professional to put writing on hold not just for a day or two, or a week, but for years.

When I was 18 and not sure whether I wanted to be an actor, I realised that a playwright has no voice without an actor. That's my reason for acting: to get that character as right as possible for my writer. And I have never changed my philosophy.

I didn't really want to be part of a clique or a niche. But I also was looking for my own voice, as a writer, y'know? And a world I could call my own.

It feels as though a very disproportionate number of main characters are writers, because that's what the writer knows. Fair enough. But nothing bothers me more in a movie than an actor playing a writer, and you just know he's not a writer. Writers recognize other writers. Ethan Hawke is too hot to be a writer.

The voice of the intelligence is drowned out by the roar of fear. It is ignored by the voice of desire. It is contradicted by the voice of shame. It is biased by hate and extinguished by anger. Most of all it is silenced by ignorance.

I always wanted to find my voice and claim my tone, but I was doing it through the steps of being a TV writer. I had the executive producer title. I was running the room.

I wouldn't buy somebody's album on a dare if they called him a musician's musician. I don't write to be a writer's writer. I don't want to be like the little-magazine writer.

I love voice over work. To me, voice over and animation is such an art, because you focus solely on your voice. You do not focus on how to speak, combined with facial expressions, movement, etc. You as the actor need to convey all those things with only your voice.

So much of what I love about poetry lies in the vast possibilities of voice, the spectacular range of idiosyncratic flavors that can be embedded in a particular human voice reporting from the field. One beautiful axis of voice is the one that runs between vulnerability and detachment, between 'It hurts to be alive' and 'I can see a million miles from here.' A good poetic voice can do both at once.

Nobody becomes a writer overnight. Well, I'm sure somebody did, but that person's head probably went all asplodey from paroxysms of joy, fear, paranoia, guilt and uncertainty. Celebrities can be born overnight. Writer's can't. Writers are made - forged, really, in a kiln of their own madness and insecurities - over the course of many, many moons. The writer you are when you begin is not the same writer you become.

I have a voice inside. A voice that I am forever trying to silence. A voice that calls me in when I want to be out, playing. A voice that is always sad. That is always terrified. That always wants to sit in the darkened room, away from noise and movement and colour - away from any experience that could prove to be challenging.

I think Labrinth is an amazing writer and an amazing singer. His voice is just so magnetic. There are so many people that I would work with inside and outside of pop.

As soon as you become a writer, you lose contact with ordinary experience or tend to. ... the worst fate of a writer is to become a writer.

There were times, I could say, later in the career, that I wished that my voice would be deeper for materials that I might've wanted to select to do. But that's the style of my voice. There's nothing I can do about the height of my voice. And so I learned to deal with it.

I was a 'learn by doing' writer - I never took any formal writing classes. So it took a long time to figure things out and find my voice.

I think of Gord Downie voice as Whitman-esque. He has a poetic voice that contains multitudes, both the suppleness of the instrument of his voice, and just the lyrical boundaries that he pushes, which are really always thrilling to me.

I have fallen deeply in love with songs - musical theatre songs included - over the years, and this experience has taught me to hear and honor the writer's voice in my soul.

Canadians are fond of darker stories, serious stories, so if you're a Mystery writer or a Romance writer or Fantasy Writer, you will most likely have an American publisher and agent.

I allegedly am an outsider writer, so I write from the perspective of somebody who doesn't completely fit in. But at the same time, I can state the fact that I don't know of any good writer who is not an outsider writer.

We write to expose the unexposed. Most human beings are dedicated to keeping that one door shut. But the writer's job is to see what's behind it, to see the bleak unspeakable stuff, and to turn the unspeakable into words - not just into any words but if we can, into rhythm and blues. You can't do this without discovering your own true voice, and you can't find your true voice and peer behind the door and report honestly and clearly to us if your parents are reading over your shoulder.

The world is waiting to hear an authentic voice, a voice from God- not an echo of what others are doing and saying, but an authentic voice.

I want to be identified as a writer, not a Southern writer, not a woman writer, not a woman from this or that place, but unfortunately it doesn't always happen.

I had a very low voice for the character in the show. I said, "That's not actually my voice. That's the character's voice." I'm being such an actor.

The writer is a spiritual anarchist, as in the depth of his soul every man is. He is discontented with everything and everybody. The writer is everybody's best friend and only true enemy-the good and great enemy. He neither walks with the multitude nor cheers with them. The writer who is a writer is a rebel who never stops

A writer is a performer as well. A writer isn't the literary department. That gets tried on but nothing's a script unless a good writer goes away and does his thing alone.

I had to get the voice back, the precise pitch of Sid's voice and I'd forgotten that I'd pitched him higher than my regular voice, so that was a little difficult to begin with. It was especially hard because we started recording in the morning so I had to warm up a lot and my usual voice is a little more gravelly.

There were times, I could say, later in the career, that I wished that my voice would be deeper for materials that I might've wanted to select to do. But that's the style of my voice. There's nothing I can do about the heighth of my voice. And so I learned to deal with it.

The poetry I love is written with someone's voice and I believe its proper culmination is to be read with someone's voice. And the human voice in that sense is not electronically reproduced or amplified.

I don't know what makes a writer's voice. It's dozens of things. There are people who write who don't have it. They're tone-deaf, even though they're very fluent. It's an ability, like anything else, being a doctor or a veterinarian, or a musician.

It’s tricky when you’re doing a recording, because the only weapon you have is your voice and the delivery of that voice. You don’t have a gesture or a facial expression, there are no costumes or set pieces. Everything needs to be present in the voice.

As a young writer, I was sort of sailing around trying to 'find my voice' - for lack of a better term - and I was really chafing against the very minimal brand of domestic realism that I'd read so much of in college.

Ever since I was first read to, then started reading to myself, there has never been a line read that I didn't hear. As my eyes followed the sentence, a voice was saying it silently to me. It isn't my mother's voice, or the voice of any person I can identify, certainly not my own. It is human, but inward, and it is inwardly that I listen to it. It is to me the voice of the story or the poem itself.

Every writer must find a way of writing that tells the reader: This is me and no one else. The Voice can be idiosyncratic, but it cannot be obscure. It is a blend of style and content and intent and rhythm and pure personality.

In this day and age, if you're aspiring to be an actor, and you're putting all your eggs in one basket, you could be disappointed. I started out as an actor, but I forced myself to be a writer, even though I wasn't very good at it and had never written. I don't think I ever passed an English course in my life. My first 8 to 10 scripts were pretty horrendous, but I stayed at it until I eventually found a voice and a subject that people were interested in. So, I recommend that you go out and try to be as versatile as possible: writer, actor, producer and especially director.

One of the things about writing a novel is you can do it any way you want. It's your voice that's important and I see absolutely no reason why a screenplay can't be the same. It makes it a hell of a lot easier when you're the writer and the director.

I have always been a singer, a writer, and a musician, not as a prodigy or as in a trade handed to me by my parents, but because of an inner voice or maybe a command from beyond reality as it is usually defined.

Writer-directors are a little bit more liberal, rather than having just the writer on the set, because I think sometimes the writer becomes too precious with the words. If you're a writer-director, you can see what you're doing and see your work in action, so I think you can correct it right there and still not compromise yourself.

The masters of life know the way, for they listen to the voice within them, the voice of wisdom and simplicity, the voice that reasons beyond cleverness and knows beyond knowledge.

[Someone] said that what I described as the Buddhist voice - the life-denying voice of censure and guilt - sounded to him very much like a Catholic voice. This is, indeed, a mystery, and it intrigues me, too.

When you are what we call a 'minority writer,' a writer of color, a writer of any kind of difference, there is some kind of presumption of autobiography in everything you produce. And I find that really maddening, and I resist that.