Top 1200 Writes Quotes & Sayings - Page 17

There's a certain grain of stupidity that the writer of fiction can hardly do without, and this is the quality of having to stare, of not getting the point at once. The longer you look at one object, the more of the world you see in it; and it's well to remember that the serious fiction writer always writes about the whole world.

There are cinéphiles and cinéphages. Truffaut is a cinéphile. A cinéphage - a film nerd - sits in the front row and writes down the credits. But if you ask him whether it's good, he'll say something sharp. But that's not the point of movies: to love cinema is to love life, to really look at this window on the universe. It's incompatible with note-taking!

Sedaris, in his essay in the It Gets Better book, writes that when he was growing up nobody called him gay because you might as well have called him a warlock. Nobody knew what gay was.

Inspiration and stealing are two completely different things. If somebody wants to make a song like "Stairway to Heaven" and writes a song on acoustic guitar, Led Zeppelin does not own every song that's on acoustic guitar for the rest of time.

The Dream Lover-what a bold, insightful, and enticing novel. And how vigorously Elizabeth Berg brings us the iconoclastic life of George Sand. Berg writes with such intimacy and compassion that I think she must have some shared ancestral DNA with Sand. I savored every page.

In America, we divide federal power between the legislative, executive and judicial branches so that no one holds too much power. This is sixth-grade civics: Congress writes the laws; the president executes the laws; and the courts apply those laws fairly and dispassionately to cases.

You can teach someone who cares to write columns, but you can’t teach someone who writes columns to care.

He that writes may be considered as a kind of general challenger, whom every one has a right to attack; since he quits the common rank of life, steps forward beyond the lists, and offers his merit to the public judgement. To commence author is to claim praise, and no man can justly aspire to honour, but at the hazard of disgrace.

In 2011, I announced that I was going to retire, and my agent panicked. So she says: 'No, no, no. You have to write a book with your husband.' My husband is a writer of crime novels. His name is William Gordon. And so I had to accommodate to his style because that's what he writes. So we decided we'd give it a try. Well, we almost divorced.

It’s hard to pin down what makes Weiss’ music so distinctive. Perhaps it’s that even in the ballads, the tone is upbeat, the outlook positive. The way Weiss writes - passionately, wittily and with respect for his fellow musicians - attests to his talent and appetite for creativity, and suggests a long, enjoyable career.

If I weren't making music, I'd be the kid who writes into the magazines and says, "why don't you guys ever cover anything that's different? Hip hop is so much of the same thing over and over again." I love hip hop, so I wanted to make an album from that standpoint, 'cause that's who I am.

I have the exact opposite problem of every writer I've ever met: Every writer I've ever met writes things that are too long, and they have to edit them down.

Before my husband deploys, he has a ritual that is familiar to many service members. He sits down with a generously poured bourbon, and he writes letters. One for his adult daughter, Rosalind. One for each of our little boys, Teddy and Antonio. One for his grandma, who raised him, and his family in Texas. One for me.

I don't think of myself as a critic or teacher either, but simply - and at the obvious risk of disingenuousness - as someone who teaches, writes drama criticism (and other things) and feels that the American compulsion to take your identity from your profession, with its corollary of only one trade to a practitioner, may be a convenience to society but is burdensome and constricting to yourself.

Reading and writing music is a wonderful way of getting ideas in your head down to someone else who reads and writes, but if you don't read and write, and the other musician you're playing with are trying to express something who doesn't read and write, than it's a question of "I wrote" so that you must learn from listening and from understanding where that's coming from.

Certainly, every student and school ought to have standards and evaluation, but who sets those standards, and who writes the test? Whoever controls the test controls the school.

I have not much faith in women in fiction.... Women are so horribly subjective and they have such scorn for the healthy commonplace. When a woman writes a story of adventure, a stout sea tale, a manly battle yarn, anything without wine, women, and love, then I will begin to hope for something great from them, not before.

I always give my students exercises where they really have to open a vein and bleed all over the paper and that's the way you get the important characters. Sooner or later every writer worth reading writes a story his mother wouldn't read and having to get that stuff out is part of one's growth as a writer.

I just wish that I had a part in everything Aaron Sorkin wrote. Sometimes I wish I was a member of an acting troupe where we all just kept working together, the same people. I can't, unfortunately, be in everything he writes. I'm excited for him, but I'm jealous that I wasn't a part of it.

I scan the room. Catherine is writing quickly, her light brown hair falling over her face. She is left-handed, and because she writes in pencil her left arm is silver from wrist to elbow.

One of my friends who writes novels says that once the book is published, it's a separate thing from you; it becomes its own. I feel that way when I read - and that applies to the experience of reading my work in public, too. The essays are a barrier between me and the audience, and it feels like a disappearing act. Poof! I'm gone, and the woman I've created on the page emerges.

Through his long, productive career, Paul Theroux has mixed nonfiction books about exotic travel with novels set in exotic places. Africa, Singapore, Hong Kong, Honduras - he lives in and writes about places most of us never see.

Each age tries to form its own conception of the past. Each age writes the history of the past anew with reference to the conditions uppermost in its own time.

I like to be good. I like being good at things. I wish that was valued instead of me being 'better' than another woman who also writes things and makes movies.

A book is a private thing, citizen; it belongs to the one who writes it and to the one who reads it. Like the mind itself, a book is a private space. Within that space, anything is possible. The greatest evil and the greatest good.

Almost 70 years have gone by, and I've still got that feeling when I write... Writing, for me, is still it. It has always been the basis of everything I do. I'm a writer who performs, not a performer who writes. I love the act of writing. It's still a thrill for me.

The thing is - do we really need another writer who writes a book every eighteen months, whether the quality is wonderful or not? I mean, maybe. But I can name twenty off the top of my head who do it. Maybe what we need is a writer like me who goes very slow, as well.

Big Stephen King fan. I think he's dismissed often as a hack probably because of his prolific body of work, but he's anything but. I think he's a terrific writer. And not just a genre writer; he really approaches a number of complexities in everything he writes. So I'm a huge fan.

I feel like a lyricist is somebody that writes their own lyrics. Now songwriters and lyricists are two totally different things. You can't really be a lyricist if you didn't write your lyrics. There's no passion, there's nothing in it coming from you. It's somebody else's feelings and you just taking it and running with it.

In the case of, like, Childish Gambino, he is someone who is a writer by trade, so he is very meticulous about how he writes his ideas. I don't do this with a lot of artist, but he would give me a treatment that he wants to do, and I'll go off that; then I'll give him feedback and pitch him my ideas.

I'm hugely affected by what people think. It could be a million people saying, 'Great.' And then one person writes, 'What the hell is this kid doing?' and starts slagging me off, for some reason, and then I have to join in the blog and sign in under a different name and go,'Why don't you like him?'

Helen Lowe writes wonderful stories, yes, but her work also speaks with lyricism to deeper questions of how we treat each other. With lovely prose that brings vivid life to her characters, she creates a universe with people we care about. This is an author with a gift for fantasy.

I've read horoscopes before and what they say. But I would actually love to not be what somebody writes down - I don't want to be described. I don't want you to be able to read something and say, "This is how Wayne is." I'd rather you meet me and decide. I'd rather be different, basically.

Criticism pretty much follows anything anyone ever does. So, anytime anyone ever writes a song, plays a show, or does whatever they do, there's going to be a certain amount of criticism because that's kind of what happens.

For 'Hey Monday,' there were songs that I co-wrote with songwriters or producers, but our last EP, the whole band did everything together. I've had a lot of experience with co-writes, which is basically what I'm doing now. I am writing things on my own, but I really believe co-writing makes you a better writer.

I'd worked at the White House for two years, and I'd read a bunch of White House memoirs because everybody who works at the White House, even for five minutes, writes a memoir usually not less than 600 pages long - and never without the word 'power' in the title.

I agree with Dreher when he writes, 'we can't build anything good unless we live by the belief that man does not exist to serve the economy, but the economy exists to serve man...A society built on consumerism must break down eventually for the same reason socialism did'

One writes out of one thing only - one's own experience. Everything depends on how relentlessly one forces from this experience the last drop, sweet or bitter, it can possibly give. This is the only real concern of the artist, to recreate out of the disorder of life that order which is art.

If you read the fables, 'Beowulf,' for example, you will know something about the person who writes them, and I like that. Secondly, they will not be about individuals; they will be about community. Thirdly, they're all about moralizing. Fourthly, the way they express themselves takes its tone from the oral tradition.

It's only recently that I've come to understand that writers are not marginal to our society, that they, in fact, do all our thinking for us, that we are writing myths and our myths are believed, and that old myths are believed until someone writes a new one.

There have been some brilliant and very successful standalone books that work in themselves and also seem to refresh a series. Anyone who writes a series lives in fear of it becoming stale, so you do whatever you can to keep it fresh - although it does feel a bit nerve-racking to write outside of your comfort zone.

A novelist writes a novel, and people read it. But reading is a solitary act. While it may elicit a varied and personal response, the communal nature of the audience is like having five hundred people read your novel and respond to it at the same time. I find that thrilling.

A woman who writes has power, and a woman with power is feared.

My feeling is that poetry is also a healing process, and then when a person tries to write poetry with depth or beauty, he will find himself guided along paths which will heal him, and this is more important, actually, than any of the poetry he writes.

Bret Easton Ellis is a social satirist; I consider myself aligned with how he does things. Bret doesn't write about that which he loves about the world, he writes about what disgusts him. You'd be a disturbed individual if you came out and said, 'I love these characters'.

You and you alone are the only person that can live the life that writes the story that you were meant to tell. And the world needs your story because the world needs your voice.

She decides to make a list of the things that make her happy. She writes 'plum-blossom' at the top of a piece of paper. Then she stares at the paper, unable to think of anything else. Eventually it begins to get dark.

Mountains are nature's testimonials of anguish. They are the sharp cry of a groaning and travailing creation. Nature's stern agony writes itself on these furrowed brows of gloomy stone. These reft and splintered crags stand, the dreary images of patient sorrow, existing verdureless and stern because exist they must.

Orwell says somewhere that no one ever writes the real story of their life. The real story of a life is the story of its humiliations.

In history, one gathers clues like a detective, tries to present an honest account of what most likely happened, and writes a narrative according to what we know and, where we aren't absolutely sure, what might be most likely to have happened, within the generally accepted rules of evidence and sources.

Even my novels offer passages in which the major character is imagined as a writer. In Joss and Gold, Li An is a business writer who edits her company's weekly public relations magazine. And in Sister Swing, Suyin writes human interest stories for a free, local community paper, The Asian Time.

When I was a kid, we had this great advantage of there being no YA books. You read kid books and then went on to adult books. When I was 12 or 13, I read all of Steinbeck and Hemingway. I thought I should read everything a writer writes.

If you text 'I love you' and the person writes back an emoji - no matter what that emoji is, they don't love you back.

It's so sad that no one writes down the things we go through, and even worse - no one will ever know about it, no one will ever see or hear about it, no one will ever be able to restore.

My first novel was turned down by about twenty publishers over a period of two and a half years. Because my name is Irish and would not be familiar to English editors, one of them said: 'If she writes anything else, do let us know.' Slowly, very slowly, the books began to sell and be noticed.

Everyone has their own career, their own fate, and everyone writes their own story.

She drinks pints of coffee and writes little observations and ideas for stories with her best fountain pen on the linen-white pages of expensive notebooks. Sometimes, when it's going badly, she wonders if what she believes to be a love of the written word is really just a fetish for stationery.

I think there is an enormous diference between speaking and writing. One rereads what one writes. But one might read it slowly or quickly. In other words, you do not know how long you will have to spend deliberating over a sentence. ... But if I listen to a tape recorder, the listening time is determined by the speed at which the tape turns and not by my own needs.

There are people who believe everything is sane and sensible that is done with a solemn face. ... It is no great art to say something briefly when, like Tacitus, one has something to say; when one has nothing to say, however, and none the less writes a whole book and makes truth ... into a liar - that I call an achievement.

We may live without her, and worship without her, but we cannot remember without her. How cold is all history, how lifeless all imagery, compared to that which the living nation writes, and the uncorrupted marble bears!