Top 1200 Writing History Quotes & Sayings - Page 3

I've lived history. I've made history, and I know I'll have my place in history. That's not egoism.

If you really want to be part of something and you have that much passion towards it, you'll know enough to research it and find the history of it; and history is so important, history is everything.

Shakespeare in Love... such smart writing of an alternative view of history, and such beautiful acting. Like most Americans, I'm a sucker for the accent.

The writing of history is largely a process of diversion. Most historical accounts distract attention from the secret influences behind great events.

London' is a gallery of sensation of impressions. It is a history of London in a thematic rather than a chronological sense with chapters of the history of smells, the history of silence, and the history of light. I have described the book as a labyrinth, and in that sense in complements my description of London itself.

You honor your writing space by recovering, if you are an addict. You honor your writing space by becoming an anxiety expert, a real pro at mindfulness and personal calming. You honor your writing space by affirming that you matter, that your writing life matters, and that your current writing project matters. You honor your writing space by entering it with this mantra: “I am ready to work.” You enter, grow quiet, and vanish into your writing.

I am interested in constitutional history, political history, the history of foreign affairs, but I think you can get at those subjects through the details of daily life.

In writing the history of a disease, every philosophical hypothesis whatsoever, that has previously occupied the mind of the author, should lie in abeyance.

Writing history and biography for kids calls for special skills that can only be acquired through practice and that are different from those required for an adult audience.

Whosoever in writing a modern history shall follow the truth too near the heels it may haply strike out his teeth.

Americans treat history like a cookbook. Whenever they are uncertain what to do next, they turn to history and look up the proper recipe, invariably designated "the lesson of history.

Outside sleep's open window, between the drops of rain, history is writing a recipe book for every earthly pain.

Irish fiction is full of secrets, guilty pasts, divided identities. It is no wonder that there is such a rich tradition of Gothic writing in a nation so haunted by history.

History is my passion. So I write what I love to read. I find that if I combine history with a strong, sensual romance, it is like a one-two punch. The reader doesn't want the history without the romance, and of course the heavier the history, the more it has to be leavened with a sensual, all-consuming love story.

I've been writing big stories of history, but there are a lot of fascinating little stories.

I feel history is more of a story than a lesson. I know this idea of presentism: this idea of constantly evoking the past to justify the present moment. A lot of people will tell you, "history is how we got here." And learning from the lessons of history. But that's imperfect. If you learn from history you can do things for all the wrong reasons.

The line of demarcation between history and legend is too thin to observe while writing; the two overlap each other unconsciously and unknowingly.

Wrote my first "novel" when I was six. Studied a bit in college, but then pursued history... But when I started writing professionally, it was mostly learn as you go.

On the craft level, writing for children is not so different from writing for adults. You still have to have a story that moves forward. You still have to have the tools of the trade down. The difference arises in the knowledge of who you're writing for. This isn't necessary true of writing for adults.

I dream of writing a book like LOVERS some day. It is so spare but so rich. It is history made intimate, and a masterpiece of compression.

We always worry that we are copying someone else, that we don't have our own style. Don't worry. Writing is a communal act. Contrary to popular belief, a writer is not Prometheus alone on a hill full of fire. We are very arrogant to think we alone have a totally original mind. We are carried on the backs of all the writers who came before us. We live in the present with all the history, ideas, and soda pop of this time. It all gets mixed up in our writing.

Military history is essential to understanding any history and, moreover, is a terrifying and sobering study in the realities of human nature - for yes, to me, such a thing exists, and history indeed proves it.

I like reading history, and actually most authors enjoy the research part because it is, after all, easier than writing.

It seems disingenuous to ask a writer why she, or he, is writing about a violent subject when the world and history are filled with violence.

I'd been in college studying English creative writing and history when I made the decision to join the Marines in the runup to the Iraq war.

There is only one history of any importance, and it is the history of what you once believed in, and the history of what you came to believe in.

If you are making money writing, you are doing great. If you can support yourself writing, you are a success. I don't care if you're writing textbooks or Pulitzer Prize-winning articles for weighty publications of world renown: If you're writing and it's paying the bills, consider yourself a successful writer.

There is no history of mankind, there are only many histories of all kinds of aspects of human life. And one of these is the history of political power. This is elevated into the history of the world.

History has never seen Emmitt Smith. I don't care what has come before me. That's why they call it history you create new history.

What does the artist do? He draws connections. He ties the invisible threads between things. He dives into history, be it the history of mankind, the geological history of the Earth or the beginning and end of the manifest cosmos.

'London' is a gallery of sensation of impressions. It is a history of London in a thematic rather than a chronological sense with chapters of the history of smells, the history of silence, and the history of light. I have described the book as a labyrinth, and in that sense in complements my description of London itself.

I think writing for me has always been a matter of fear. Writing is fear and not writing is fear. I am afraid of writing and then I'm afraid of not writing.

Whosoever, in writing a modern history, shall follow truth too near the heels, it may happily strike out his teeth.

History has to live with what was here, clutching and close to fumbling all we had - it is so dull and gruesome how we die, unlike writing, life never finishes.

Black History is enjoying the life of our ancestors who paved the way for every African-American. No matter what color you are, the history of Blacks affected everyone; that's why we should cherish and respect Black history. Black history changed America and is continuing to change and shape our country. Black history is about everyone coming together to better themselves and America. Black history is being comfortable in your own skin no matter what color you are. Black history makes me proud of where I came from and where I am going in life.

Imagination plays too important a role in the writing of history, and what is imagination but the projection of the author's personality.

The settler makes history and is conscious of making it. And because he constantly refers to the history of his mother country, he clearly indicates that he himself is the extension of that mother country. Thus the history which he writes is not the history of the country which he plunders but the history of his own nation in regard to all that she skims off, all that she violates and starves.

I've always loved history and history is collage, it is a juxtaposition of the good and the bad and the strange, and how you place those sentences together changes the whole mood of a history.

The history of jazz lets us know that this period in our history is not the only period we've come through together. If we truly understood the history of our national arts, we'd know that we have mutual aspirations, a shared history, in good times and bad.

Writing is really just a matter of writing a lot, writing consistently and having faith that you'll continue to get better and better. Sometimes, people think that if they don't display great talent and have some success right away, they won't succeed. But writing is about struggling through and learning and finding out what it is about writing itself that you really love.

Good writing is clear. Talented writing is energetic. Good writing avoids errors. Talented writing makes things happen in the reader's mind - -vividly, forcefully.

Sometimes it can seem that history is turning in a wide arc, toward an unknown shore. Yet the destination of history is determined by human action, and every great movement of history comes to a point of choosing.

Indeed, if "biology is chemistry with history," as somebody has said, then nature writing is biology with love.

Not unlike our country's history, my personal history was founded upon an unfortunate history of racial conflict between black and white.

When we approach history, we are dealing with a conglomeration of irrational continua. Those who deal with history by nonrational processes are the ones who make history, the actors in it.

I wasn't particularly good at school so always found essay writing hard, so I didn't do that well at English or history, even though I enjoyed it.

Irene Bennett Brown keeps the promise of her gifted writing and love for history inside this fine contemporary mystery. I loved it.

The real violence is committed in the writing of history, the records of the legal system, the reporting of news, through the manipulation of social contracts, and the control of information.

If man is reduced to being nothing but a character in history, he has no other choice but to subside into the sound and fury of acompletely irrational history or to endow history with the form of human reason.

Most of us, I think, are conscious of history swirling around outside the door, but when we're in the house, we're usually not dealing with history. We're not thinking about history.

If you study the history of mankind, it seems to be a history of violence. Certainly the history of art, whether you look at paintings or movies or plays or whatever, is just a litany of murder and death.

I performed in high school for Black History Month at a talent show, but besides that I didn't have the resources to perform so I spent my time as a teenager writing music.

As people of color, we're left out of history. History is sort of told around us. We're bystanders, we're passive, we're observers. We're never the center of our history.

My writing has to support more than my research habit, but I love to curl up with a book about some dusty corner of history.

I think training in comedy, as it were, a history writing comedy, is a powerful tool for anyone.

History, when they do it, is ancient history, and they sensationalize even that. Contemporary history is virtually ignored on television.

The Orenda is a powerful story from history, folklore and the imagination, based on the universality of human cruelty, superstition and perseverance. Wonderful writing.

I have a hard time writing. Most writers have a hard time writing. I have a harder time than most because I'm lazier than most. [...] The other problem I have is fear of writing. The act of writing puts you in confrontation with yourself, which is why I think writers assiduously avoid writing. [...] Not writing is more of a psychological problem than a writing problem. All the time I'm not writing I feel like a criminal. [...] It's horrible to feel felonious every second of the day. Especially when it goes on for years. It's much more relaxing actually to work.

Environmental history fit[s] into the framework of New Left history. [It is] history "from the bottom up," except that here the exploited element [is] the biota and the land itself.

Journalism is very much public writing, writing with an audience in mind, writing for publication, and frequently writing quickly. And I know that when I worked daily journalism it really affected my patience with literature, which I think requires reflection, and a different kind of engagement.