Top 1200 Writing Voice Quotes & Sayings - Page 3

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.

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.

The way that I see third person is it's actually first person. Writing for me is all voice work. Third person narrative is just as character-driven as first person narrative for me in terms of a voice. I don't write very much in third person.

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.

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.

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.

Planning to write is not writing. Outlining, researching, talking to people about what you're doing, none of that is writing. Writing is writing.

Distractions have never prevented a Writing Writer Who Writes from writing; distractions are an excuse proffered by Non-Writing Non-Writers Who are Not-Writing for why they are not writing.

Working with the brothers can put pressure on my voice, so I choose to do my own solo thing so I can save my voice. I couldn't do both now. The Neville Brothers is a funk band; they play loud, and I have a strong voice.

When you recognize that there is a voice in your head that pretends to be you and never stops speaking, you are awakening out of your unconscious identification with the stream of thinking. When you notice that voice, you realize that who you are is not the voice - the thinker - but the one who is aware of it.

When I was 12, I was going through an awkward time. Writing music helped me find my voice and express the things I was feeling.

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 enjoy writing, sometimes; I think that most writers will tell you about the agony of writing more than the joy of writing, but writing is what I was meant to do.

Voice is one of the most elusive qualities in any story. We recognize it when we hear it, but it's hard consciously to create an authentic voice. Somehow voice seems to be the natural manifestation of all the narrative decisions we've made so far. We discover it more than we fabricate it.

I've said very openly that the first aspect of my artistry to arrive was writing. It took me a good number of years to find my voice.

Words that in their everyday surrealism have no parallel in contemporary writing... Music that mines the deep veins of fatalism in the Appalachian voice

The artist, and particularly the poet, is always an anarchist in the best sense of the word. He must heed only the call that arises within him from three strong voices: the voice of death, with all its foreboding, the voice of love and the voice of art.

I've auditioned for animation stuff for a long time; that's a tough field to crack into. I don't think I have the strongest voice. I don't have a theater-trained voice or a radio voice, but I think I make good character choices.

On the other hand when you are someone who records their own songs you are basically stuck writing for one voice and for one style that can stifle you a bit. It's a real trade off.

When Chaplin found a voice to say what was on his mind, he was like a child of eight writing lyrics for Beethoven's Ninth.

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.

If that voice that you created that is most alive in the poem isn't carried throughout the whole poem, then I destroy where it's not there, and I reconstruct it so that that voice is the dominant voice in the poem.

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.

I try to keep my voice in writing, and I think that's why I get so many complaints about how I write.

Like a lot of us, sometimes I'm preaching to the choir, and sometimes my voice doesn't even get heard at all. Sometimes I think that what I'm writing now might not even have an impact for the next three or four generations. Sometimes I sit there and write, and I think, "It'll be two hundred years before they get what I'm writing about."

I'm always writing. A friend of mine once said, 'You avoid re-writing by writing.' Which is kind of a good point, because re-writing seems to be mostly about craft, and writing is just, like, getting out your passion on a piece of paper.

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.

There are some different things I'm writing and developing, but I don't know where they'll go. They're fun stuff that I would be in and are written in my voice, for me.

The major newspapers simply stopped writing about me, and my voice could no longer be heard on radio or television.

Photography was so perfectly suited to my sensibility and situation, it gave me a voice, a kind of crazy, out-of-whack voice, at the beginning, but a voice. I could finally put into images bottled up feelings of absurdity and alienation - and also joy and delight.

When I first got on the internet as a tween, I wasn't comfortable showing up in social spaces. I didn't have a loud voice. As a function of my youth and gender, I wasn't given a voice at the dinner table, and nor maybe should I have been. But I thought I wanted one, and I was able to have it online. I wasn't a great talker, but I found these other skills. And when this stuff is described as "not real writing" or "bad for my brain" or whatever, it just seems like it's from people who wanted to keep their place at the dinner table.

I have a great advantage: I write from the perspective of my own voice. I'm not copying anyone's voice. It's my voice. I have the advantage of being a writer of English as a second language.

More than this, I believe that the only lastingly important form of writing is writing for children. It is writing that is carried in the reader's heart for a lifetime; it is writing that speaks to the future.

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.

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.

If someone goes, 'Can you be sassier?' I go, 'I can be my kind of sassier. I'm not gonna put a voice on. The voice I have is 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 was just writing songs because, if a song shows up, you've gotta write it. I didn't know what to do with them. I didn't have any faith in my voice.

It's crazy to see people having tattooed my lyrics on their body, and quite frankly writing is just an outlet for my voice and getting it out there.

People get trapped sometimes and they don't feel they have a voice. And if you can in some way help someone by writing a song, it's really lovely.

We're always being told 'find your voice.' When I was younger, I never really knew what this meant. I used to worry a lot about voice, wondering if I had my own. But now I realize that the only way to find your voice is to use it. It's hardwired, built into you. Talk about the things you love. Your voice will follow.

Novel-writing can be a cold-blooded business. One uses whatever happens to be lying around in memory and employs it to suit one’s end….Then, again, during the months whilst one is writing about the past, a story is colored by what presently is happening to its writer. So, imperceptibly, the tone of voice changes, original intentions slip away. And I found myself looking through another window at a darker landscape inhabited by neither the present nor the past.

In an encounter with divine reality, we do not hear a voice but acquire a voice, and the voice we acquire is our own.

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.

[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.

My writing voice is a little quirkier, more singer-songwriter-y than the Top 40 stuff I cover.

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.

I very happily stand for the right of every man and woman in Pennsylvania to have their voice heard in elections. And when they do have their voice heard, it's nothing short of a privilege to welcome and respect that voice because this is a democracy, and that's what we do.

I'm not singing anymore; that is why I am so pleased to be writing. My daughter said, "You just found a different way of using your voice."

I wrote 'Zeuglodon' on a whim. I found myself writing the voice of an 11-year-old girl. I don't know why.

Although my other ambition was to be a musical theater star (and I would attend college on a voice scholarship), writing was never far from my mind.

Like Hemingway and Faulkner, but in an entirely different mode, Fitzgerald had that singular quality without which a writer is not really a writer at all, and that is a voice, a distinct and identifiable voice. This is really not the same thing as a style; a style can be emulated, a voice cannot, and the witty, rueful, elegaic voice gives his work its bright authenticity.

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 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.

The challenges of writing a book are very different from writing a blog or tweets. I've been writing a blog since I was in the 6th grade, so I had this style of writing that was definitely not proper for writing a book.

In American Romances, her new book of essays, Rebecca Brown has a voice that is full of pop references, family stories, and the fruits of a lifetime of -- in her perfect phrase - extreme reading. The voice is a hoot, and it is dead serious. This is writing with exquisite control, fully up to the task Brown takes on of playing a fierce game of beach ball with deep problems of American (and personal) history and identity.

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.

You can strengthen your leadership voice by finding what I call its Maximum Resonance Point and learning to pitch your voice there. That gives you the strongest voice and thus the one that people are most likely to want to follow.

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.

. . . if [writing] lift you from your feet with the great voice of eloquence, then the effect is to be wide, slow, permanent, over the minds of men; . . .