Top 1200 Writing Notes Quotes & Sayings - Page 2

A poet never takes notes. You never take notes in a love affair.

The process of writing is a process of learning; and much has become clearer to me in the attempt to transform my original rough notes into what I hope is an intelligible presentation.

You have to open the music, so to speak, and see what's behind the notes because the notes are the same whether it is the music of Bach or someone else.

Outlining is not writing. Coming up with ideas is not writing. Researching is not writing. Creating characters is not writing. Only writing is writing.

I'd like to think that my mentors, I've had the highest of education and one thing I've always noted, they were always writing stuff down, taking notes.

I played in the high school band. I was the one baritone saxophone out of 80 other people. No one could tell whether I was hittin' the right notes or the wrong notes.

Once you start to play together, vibing off each other in the scene, it's not just the notes - it's the music. The script might be the notes playing, but we're making it music.

Silk Road to Ruin has all the analysis and it's structured very well. I rely on my notes more and I use direct quotes. But there's nothing like writing about it right away.

Writing objects to the lie that life is small. Writing is a cell of energy. Writing defines itself. Writing draws its viewer in for longer than an instant. Writing exhibits boldness. Writing restores power to exalt, unnerve, shock, and transform us. Writing does not imitate life, it anticipates life.

For my fragrance, I knew I wanted something sweet but with a different side to it. I have a lot of vanilla notes and bakery shop scents, but then I also have muskier notes that make it a bit edgier. It's fun but also sophisticated.

Note-taking is important to me: a week's worth of reading notes (or "thoughts I had in the shower" notes) is cumulatively more interesting than anything I might be able to come up with on a single given day.

Buonaparte is certainly writing, or rather dictating, his memoirs. He walks backwards and forwards with his hands behind him, and dictates so fast that two or three of his suite are obliged to be in attendance, that the one may take down one-half of a sentence, and another the rest; they then literally compare notes, and put the disjointed legs and wings and heads of periods together. This is writing a book as he fought a battle.

For me, travelling and drawing the world, experiencing as much as possible first hand, has been very important. Making notes, drawing and writing on the move, became second nature.

The way I go about writing records is that I make a calendar date to start the new record, so I have nothing. I don't have a bunch of notes that I bring into the office, I start with nothing at all.

I've been poked fun of throughout my career by fellow actors for my notes that I take. I have spiral notebooks that I carry with me on every project I do, and I take notes just so that if I have to relive a scene, if I have to go back, I know what I did.

In holy music's golden speech Remotest notes to notes respond: Each octave is a world; yet each Vibrates to worlds beyond its own.

When I read, I take notes and underline things. So reading is a vigorous process for me, but I read in bed. My poor husband is trying to go to sleep, and I'm reaching over him to get the Post-it notes.

The real deep text of music and the whole reason that it has continued with the profundity and urgency that it has for over a thousand years, has to do with what the notes say, what the notes witness, different experiences of hope or doubt that people are able to distill and encode and pass on in this way.

When I'm writing, I'm writing for a particular actor. When a lot of writers are writing, they're writing an idea. So they're not really writing in a specific voice.

College is a place where a professor's lecture notes go straight to the students' lecture notes, without passing through the brains of either.

At a very early age I began to thump on the piano alone, and it was not long before I was able to pick out a few tunes? I also learned the names of the notes in both clefs, but I preferred not be hampered by notes.

Poets, on the face of it, have either got to be easier or to write their own notes; readers have either got to take more trouble over reading or cease to regard notes as pretentious and a sign of bad poetry

There's an effort to reclaim the unmentionable, the unsayable, the unspeakable, all those things come into being a composer, into writing music, into searching for notes and pieces of musical information that don't exist.

I love nerdy work. I love writing notes. I try to go back, as much as I can, to feed what happens and why they do what they do.

I started realizing that music is the one area where I've always let go. When that saxophone goes into my mouth, I get into a space where I never think about the notes I've already played or anticipate the notes ahead.

Look at the piano. You'll notice that there are white notes and black notes. Figure out the difference between them and you'll be able to make whatever kind of music you want.

My advice for other female directors is look for people who really appreciate your vision and are willing to genuinely support you. When it comes time to taking notes on various cuts, if you have a smart producer, listen to her notes!

There are notes between notes, you know.

I just write notes all day on my phone, and when I write songs it becomes a patchwork of these smaller notes that I had, mixed with stuff in the moment.

There are no wrong notes in jazz: only notes in the wrong places.

You have to have all these elements of a feature but with a third of the length. And also the development process - there are so many more steps in getting notes from the studio, getting notes from the network.

I certainly think I'll end up writing about America in some form. I've taken plenty of notes. I like America very much.

When I create a character, I do it with the directors, and I take their notes and try to have my notes meet in a common ground. I don't create characters myself, and I don't really think that's my job. I'm not a prep person at all - plus, I'm just a lazy procrastinator.

Sometimes when working on TV, especially when doing procedural cop work, you can refer to your notes. Your notes, of course, do contain, naturally, all the information you need.

What happened was I was a songwriter on Quincy Jones' publishing company, Qwest, for two and a half years before I gave him the song for Michael Jackson. He had a meeting with the songwriters. I think there were about six of us on the West Coast and we all had a meeting at his house where he sort of gave us an outline of what he wanted. To finish this BAD album Jones needed one more song to round out the album. I took notes and then I then took my notes to my writing partner Glen Ballard.

I never make notes; just a few small details when I'm writing, but nothing much. The plot is never written down. I will tell the story to myself, but I won't plan it. I'll speak the narrative in my head for a while.

Writing is for stories to be read, books to be published, poems to be recited, plays to be acted, songs to be sung, newspapers to be shared, letters to be mailed, jokes to be told, notes to be passed, recipes to be cooked, messages to be exchanged, memos to be circulated, announcements to be posted, bills to be collected, posters to be displayed and diaries to be concealed. Writing is for ideas, action, reflection, and experience. It is not for having your ignorance exposed, your sensitivity destroyed, or your ability assessed.

I'm usually up until around 1 A.M. or 2 A.M. I don't get much sleep - and I prefer it that way, writing notes and coming up with different ideas for two to three hours between 11 P.M. and 1 A.M. or 2 A.M.

It can't be any new note. When you look at the keyboard, all the notes are there already. But if you mean a note enough, it will sound different. You got to pick the notes you really mean!

The huge, turgid work of history, sinking under the weight of its own 'politically correct' thesis and its foot- and source notes, is not the British way of writing history, and never has been.

I don't want to be on a soapbox, but I feel like a lot of documentary filmmakers are part of the ancient tradition of writing down notes, of saying, 'Hey people, hey people!'

I had a lot of notes and fragments and observations that never amounted to anything. After the Wall had gone down, so many people were writing about Berlin, I didn't have the same urgency or feel enough authority.

When you get up, the night and day is a contradiction. But you get up at 4 A.M. That first blush of blue is where the night and day are trying to find harmony with each other. Harmony is the notes that Mozart didn't give you, but somehow the contradiction of his notes suggest that. All contradictions of his notes suggest the harmony.

When you're writing fiction, you don't have notes necessarily. You don't carve it, it's not like a piece of sculpture, it's more like water color.

I took many notes, more than usual before I sat down and wrote Act One, Scene One. I had perhaps eighty pages of notes. . . . I was so prepared that the script seemed inevitable. It was almost all there. I could almost collate it from my notes. The story line, the rather tenuous plot we have, seemed to work out itself. It was a very helpful way to write, and it wasn't so scary. I wasn't starting with a completely blank page.

Writing my own diary is the best form of remembrance, but only for my own use. I need these notes; it's like an impulse.

Great music as much about the space in between the notes as it is about the notes themselves.

I do my best writing between 10 p.m. and 5 a.m.. Almost every friend I have who is a consistently productive writer, does their best writing between 10 p.m. and 8 a.m. My quota is two crappy pages per day. I keep it really low so I'm not so intimidated that I never get started. I will do the gathering of interviews and research throughout the day. I'll get all my notes and materials together and then I'll do the synthesis between 10 p.m. to bed, which is usually 4 or 5 a.m.

Children are given Mozart because of the small quantity of the notes; grown-ups avoid Mozart because of the great quality of the notes.

Simplicity is the final achievement. After one has played a vast quantity of notes and more notes, it is simplicity that emerges as the crowning reward of art.

You've got to know much more than the mere technicalities of notes. You've got to know sounds and what goes between the notes.

People buy pads all the time, because they want to write stuff down. We're never going to get away from paper, ever. People like writing; that's why more people are writing more real thank-you notes now - not just to stand out, but because there's something about pen to paper, about holding something cool in your hands.

As you get older, some top notes drop off and bottom notes appear, which I quite like. You listen to Leonard Cohen or Johnny Cash, and you see the advantage of the lower end.

I write lyrics everyday as I go. I'm always taking notes in my phone whenever I am inspired by something. Most of my writing starts out as poetry before I put it into songs.

You make mental notes. You're a coach, so you make mental notes from matchups, to who steps up in the playoffs to who doesn't, different types of players.

I played in the high school band. I was the one baritone saxophone out of 80 other people. No one could tell whether I was hittin the right notes or the wrong notes.

I would encourage you as a screenwriter to trust your story and don't make notes for the actors or don't make notes for the reader.

Cooking is like painting or writing a song. Just as there are only so many notes or colors, there are only so many flavors - it's how you combine them that sets you apart.

There are rhythmic ideas which sometimes only work up to a point. In writing there are moments when it just comes off the page, it's not just a collection of notes.

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.