Top 1200 Writing By Writers Quotes & Sayings - Page 20

Teaching and writing, really, they support and nourish each other, and they foster good thinking. Because when you show up in the classroom, you may have on the mantle of authority, but in fact, you're just a writer helping other writers think through their problems. Your experience with the problems you've tried to solve comes into play in how you try to teach them to solve their problems.

I was writing blogs before work, then I was writing at work, and then I started writing books on the weekend because you just have that sort of energy in your 20s; it's wonderful.

If I write a paragraph and I don't get a certain lift from it, if I don't feel connected to it emotionally, then it's dead to me. When I'm reading other fiction writers, if I don't get any emotional investment from the writer, if it's just intellectual or clever - you know, most writing that passes as deep is just clever - I don't feel any connection.

Good writing is good writing no matter what genre you're writing in, and I believe that there are only a handful of fundamental craft tools that are essential for any genre-including nonfiction.

My records have a lot of collaborators on them, and when you're writing a book, it's a very insular process that's very confusing and dark. It's a lot of writing and rewriting in a way that I don't do so much when I'm writing songs.

I really want to do roles that have some substance, and I hope writers give us that importance. I can't alone stand up and demand roles like that. It's a collective thing. Writers have to believe in heroines and understand that there's more to a woman than just her curves. It's not that they can't do it. They just choose not to.

I won't say that writing is therapy, but for me, the act of writing is therapy. The ability to be productive is good for my mental health. It's always better for me to be writing than vegetating on some couch.

My writing process is very feedback based - I listen to the audience. I try to understand what's connecting, what's not connecting... and then rewrite, and rewrite, and rewrite. Chris Gethard and I have been on the road a lot together. When we get on the bus at night, we talk about the jokes that didn't work and the joke possibilities that could work. I think this is a little different from other writers.

He asked, "what makes a man a writer?" "well," I said, "it's simple, it's either you get it down on paper or you jump off a bridge. writers are desperate people and when they stop being desperate they stop being writers." "are you desperate?" "I don't know.

I had started writing as a poet in a closed, post-Revival, claustrophobic world, where the shadows of the national upheaval and the intense effort - the intense self-conscious effort - to make a literary movement were still evident. Now we lived a life as writers that was more cosmopolitan, more open, that had more travel and exchange.

What is the best way to write? Each of us has to discover her own way by writing. Writing teaches writing. No one can tell you your own secret.

I don't like writing as an expert. I like writing as an amateur. I like writing as an idiot. It's much more fun to start in ignorance.

I never stopped writing music, I just stopped writing songs. I've been writing music continually ever since the last album of original tunes, "River Of Dreams" in '93.

Writing is indeed essential to me. I have been writing for a long time but not for publication. I'm sure there are many, many people who do the same. The rewards of writing are in the process and not the product - not just for me but for others I have met.

Non-Indian writers usually say "Great Spirit," "Mother Earth," "Two-Legged, Four-Legged, and Winged." Mixed-blood writers usually say "Creator, "Mother Earth," "Two-Legged, Four- Legged, and Winged." Indian writers usually say "God," "Mother Earth," "Human Being, Dog, and Bird."

The daily writing practice is something I used to hear batted around a lot in writing workshops - which is probably why I dropped out of all the writing workshops. I wish I could take credit for innovating a new approach to writing, but the truth is that I've managed to write books despite myself. I'm lazy and ungovernable and undisciplined, but I do have a lot of anxiety about never amounting to anything and ending up as a bag lady.

Writing with voice is writing into which someone has breathed. It has that fluency, rhythm, and liveliness that exist naturally in the speech of most people when they are enjoying a conversation...Writing with real voice has the power to make you pay attention and understand --the words go deep.

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.

I was an only child with a lot of time to kill. I suspect a lot of writers are only children, or only children become writers because it's a way of being alone.

I have this feeling of wending my way or plundering through a mysterious jungle of possibilities when I am writing. This jungle has not been explored by previous writers. It never will be explored. It's endlessly varying as we progress through the experience of time. These words that occur to me come out of my relation to the language which is developing even as I am using it.

I think one of the coolest things about the job is the level of trust we have for each other. The actors fully trust that the writers will write amazing episodes, and the writers trust that the actors will follow their instincts with the characters

I always have strong feelings when I'm writing a book. Sometimes when I'm writing a book, I even cry when I'm writing. Once I read a quotation that I thought was very true for me, which is: "No tears in the writer, no tears in the reader."

The process of writing a book is infinitely more important than the book that is completed as a result of the writing, let alone the success or failure that book may have after it is written . . . the book is merely a symbol of the writing. In writing the book, I am living. I am growing. I am tapping myself. I am changing. The process is the product.

Writers must fortify themselves with pride and egotism as best they can. The process is analogous to using sandbags and loose timbers to protect a house against flood. Writers are vulnerable creatures like anyone else. For what do they have in reality? Not sandbags, not timbers. Just a flimsy reputation and a name.

I think writers always want to be taken seriously as writers, but it's not always possible. There's a difference between persistence and banging your head against the same wall a hundred times. Sometimes it's better to look away from the wall and see what else might be available that's easier.

The Huffingtonpost.com does not pay its writers. Tina Brown's thedailybeast.com does pay its writers. You have to be paid because this is not a hobby. You have to keep that standard. You can't ask grandpa to loan you money because you have to go to Afghanistan. I walked the picket line for that to continue.

I think one of the coolest things about the job is the level of trust we have for each other. The actors fully trust that the writers will write amazing episodes, and the writers trust that the actors will follow their instincts with the characters.

I never sat down and wrote, but what I do is kind of act as a dramaturge for the piece. I am sitting with the writers. I'm discussing ideas with the writers and concepts. We're debating and having a dialectic where we are taking a lot of different ideas and trying to synthesize them into the right idea. I'm very much a part of that process. That's my job as the director.

There have been days where I've had two writers' rooms or three writers' rooms going, and you walk back and forth. And then you sort of throw yourself on the sofa, and you go, 'Just talk at me for, like, 20 minutes,' and my brain will catch up with this particular story. But I find that exciting.

This grant gave me more than memories; it gave me a crucial experience that is formative to all writers: the ability to perceive that we become writers in exile, where what we write is the only link across distance and time…I became a Maryland writer because the community of Juneau took me in.

When I was younger it was a lot of quantity over quality. Just writing, writing, writing. Hundreds of songs. Now it's fewer songs. If I write 10 songs I believe 80 percent of them are good and gonna be used.

Somebody told me I should try writing. Actually, a lot of people tried to get me to try writing, long before I thought I was 'the writing type'.

I was writing rap at 12 years old and began writing songs as a 20-year-old. I think I wrote my first song in the winter of 2008-2009, when I was in Buenos Aires. I was writing about growing up and my boys back home.

I had at some point the epiphany that if I wanted to be a writer, maybe I should stop thinking about writing, or stop writing about writing, and actually write.

I'm a fairly ascetic person. And I do most of my writing at night. You don't get distracted, your brain goes into what you are writing about, into the world you're writing about, rather than into the world you're in.

I felt like my favorite writers have almost musical hooks in their work, whether it's poetry or a hook at the end of a chapter that makes you want to read the next one. And I think that my favorite writers definitely have something musical about what they do, in saying something so relatable and universal and so simple.

A book is not an example of 'women's writing' simply because it is written by a woman. Writing may become 'women's writing' when it could not have been written by a man.

The best writing advice I had was [in] ‘Heinlein’s Rules for Writers’ by (American science fiction author) Robert A. Heinlein. His first rule is that you must write, and I was already doing that, but his second rule is, ‘You must finish what you write,’ and that had a big impact on me.

[N]othing is as surprising as life. Except for writing. Except for writing. Yes, of course, except for writing, the only consolation.

The text you write must prove to me that it desires me. This proof exists: it is writing. Writing is: the science of the various blisses of language, its Kama Sutra (this science has but one treatise: writing itself).

As a writer, I can't really take days off. Writing is like creating an art. Once you stop writing, you can lose your rhythm and context, meaning that your writing may lose its power.

tried to focus on a particular aspect of this historical moment: the failure of mourning. This is something I haven't seen a great deal of in the writing around this disaster. And my view is that you write about disaster by writing around it, by writing allusively.

When you're writing about superpowers, you're writing about power. When you're writing about immortals, you're writing about mortality.

Other people get into occupations by accident or design; but writers are born. I could work at selling motels, or slopping hogs, for fifty years, but if someone asked my occupation, I'd say writer, even if I'd never sold a word. Writers write. Other people talk.

Genius gives birth, talent delivers. What Rembrandt or Van Gogh saw in the night can never be seen again. Born writers of the future are amazed already at what they're seeing now, what we'll all see in time for the first time, and then see imitated many times by made writers.

I've never really felt that being part of a literary community is all that important. It can be extremely detrimental to a writer. It can damage successful writers by giving them an exalted sense of what they've done, and it can crush less successful writers by infecting them with envy and malice at an early stage in their careers.

I don't understand why one should be one thing or the other. Writing, to me, is writing is writing. It should be a flexible tool. Whatever skills I have, have to work for me; I won't be dictated by them.

I've worked on other shows where the sense is like, "Well, don't change it too much," you know? But on this one [ Too Much Tuna], Nick [Kroll] and John [Mulaney] - beyond being amazing performers - are also writers, and wanted to keep improving upon the show, particularly the play within a play. I think the writing just got funnier and funnier.

In my mind, only one inviolable precept exists in terms of being a successful writer: you have to write. The unspoken sub-laws of that one precept are: to write, you must start writing and then finish writing. And then, most likely, start writing all over again because this writing "thing" is one long and endless ride on a really weird (but pretty awesome) carousel. Cue the calliope music.

I had a teacher once who said, "If you are going to write fiction, you should only read poetry." I have always been interested in the writers who care about their sentences and who really work on that level. I have always said that I hate writing, I love revision. So, the language is really important to me. And the comedy and the horror that come out of the language.

I don't consider writing a quiet, closet act. I consider it a real physical act. When I'm home writing on the typewriter, I go crazy. I move like a monkey. I've wet myself, I've come in my pants writing.

When I'm doing interviews, I'm doing interviews, and when I am writing, I'm writing. I sit there with a musician and I write. It's the same process since I started writing in my twenties. I like to come in and leave with a finished song.

Writing is not about making a buck, not about publishers and agents. Writing is not about feeling good. Writing is about pain, suffering, hard work, risk, and fear.

Writing about conflict has provided these dramatic opportunities to talk about really substantial moments in a person's life. I'm not writing about superheroes; I'm writing about ordinary people.

When I am writing, even though it's hard and I do struggle often, I am happier than when I'm not writing. I feel alive. Whereas when I'm not writing, I feel like your common every-day neurotic.

I think all writers of my age who are brought up on films probably by the age of 16 have seen many more films than they have read classics of literature. We can't help but be influenced by film. Film has got some great tricks that it's taught writers.

Writing is writing. It's an abiding, wonderful talent, craft, gift that stays with you your whole life. And you can go in different forms, and you can try them. Look at me: I'm writing novels because I found something I love because I tried it.

Clear writing is universal. People talk about writing down to an audience or writing up to an audience; I think that's nonsense. If you write in a way that is clear, transparent, and elegant, it will reach everyone.

If the writing is good, then the writing is already funny. All you have to do is make this funny writing true to the very deepest of your heart, and the fact that you are capable of making this true will be hysterical.

Most writers I know have switched to word processors. I haven't but I'm very curious about why people like it so much. I think it has something to do with the fact that at last writing, which has been such an old-fashioned, artisanal activity, even on a typewriter, has now entered the central domain of modern experience which is that of making copies, being involved in the world of duplicates and machine-mediated activities.