Top 1200 Wrote Quotes & Sayings

I finished my first novel - it was around 300 pages long - when I was 16. Wrote one more before I got out of high school, then wrote the first Lincoln Perry novel when I was 19. It didn't sell, but I liked the character and I knew the world so I tried what was, in my mind, a sequel. Wrote that when I was 20, and that one made it.

It's more in retrospect as I've thought about it over the years and look back at what I wrote, how I wrote things - like there's a song that Ralph Stanley later recorded with me that he had guested on my record what was called "Travelers Lantern" that I wrote as basically, you know, a hymn.

I always thought I wrote good bridges. I was a bit more impressed with the bridges I wrote than maybe the songs I wrote.

I wrote in my first book that I was broken, and now it just makes me mad every time. This is why writing words in books is so precarious. This is why Jesus only wrote in the sand, right? I just - I hate that I wrote that.

When I did 'Happy Birthday,' I wrote the treatment for the video before I wrote the record. And once I wrote the video, I had a clear understanding of what I wanted; I created the soundtrack to that video.

I wrote 'Yellow Submarine' for the Beatles. I wrote the screenplay for 'The Games,' about the Olympic Games. I wrote 'Love Story,' both the novel and the screenplay. I wrote 'RPM' for Stanley Kramer. Plus, I wrote two scholarly books and a 400-page translation from the Latin, and I dated June Wilkinson!

Right when I moved to L.A., I started writing. I wrote some screenplay. I'm sure it's terrible. But I wrote a screenplay by myself. When I first moved to L.A., I had no friends. I didn't know anybody. I just sat in a little studio apartment, and I wrote a screenplay.

My tunes and numbers are here. They have filled my years, the years when I refused to die. And in order to do that I wrote, I wrote, I wrote, at noon or 3:00 A.M. So as not to be dead.

I was about 13, in some ways, when I wrote the first book. Approximately 18 when I wrote the second.

Within Klaxons, I never wrote the lyrics. I always wrote the melody and music with the other guys.

At Princeton I wrote my junior paper on Virginia Woolf, and for my senior thesis I wrote on Samuel Beckett. I wrote some about "Between the Acts" and "Mrs. Dalloway'' but mostly about "To the Lighthouse." With Beckett I focused, perversely, on his novels, "Molloy," "Malone Dies," and "The Unnamable." That's when I decided I should never write again.

My sense of a poem - my notion of how you revise - is: you get yourself into a state where what you are intensely conscious of is not why you wrote it or how you wrote it, but what you wrote.

I wrote about four novels before I wrote a word of journalism.

When I wrote 'Grand Illusion,' I was making it up as we went along. I wrote this stuff and tried to do the best job I could.

I wrote songs when I was little, and I wrote a journal, but I don't think I knew how to let that truth come out yet.

He Wrote, Are you OK? I told him, My eyes are crummy. He wrote, But are you OK? I told him, That's a very complicated question. He wrote, That's a very simple answer. I asked, Are you OK? He wrote, Some mornings I wake up feeling grateful.

I was five years old when I wrote my first song. It was out of longing for my father that I wrote it.

I always wrote everything - I wrote all the lyrics, I wrote all the melodies, everything; it's just somebody else sung it. And to me, the singer is nothing else than a different... like a bass player or a keyboard player - they're not more important than any other musician.

I wrote poetry before I wrote songs, and T.S. Eliot was my inspiration. I love his honesty and try to bring that to my own songwriting.

[Miss] Piggy was amazing, I was nervous because I wrote our opening. I wrote the song, wrote what we were going to do. And first I was hoping that they would approve it, because they're not playing.

[Larry Kramer] even wrote this angry letter to the president of Yale, and in it he said what he said to us, that he was so disappointed in his straight friends because of AIDS and everything. He wrote the letter around March. And in it he wrote, "I usually go to the Trillins for Christmas, but I just couldn't do it this year."

I've outdone anyone you can name - Mozart, Beethoven, Bach, Strauss. Irving Berlin, he wrote 1,001 tunes. I wrote 5,500.

I took to writing as my medicine to help me stay afloat in acting career journey. I wrote about me breaking hearts, and my heart being broken. I wrote about my views whether they were liberal or conservative. I wrote about everything. I wrote about my life. When I did not have paper coming in as green backs, I'd use random pieces of paper for stories. It was like, I got no money, but I have paper to write. So I wrote.

I wrote a few unsuccessful screenplays before I wrote 'Before the Devil Knows You're Dead.' I wrote them as television plays that never got made. I'm glad I wrote them - I think it was a good experience.

When I wrote 'Savage Season,' it was three years later before I wrote the second Hap and Leonard novel. Whenever I wrote one, I never intended to write the next one.

I wrote for magazines. I wrote adventure stuff, I wrote for the 'National Enquirer,' I wrote advertising copy for cemeteries.

When I wrote my first film and then directed it and I looked at it for the first time on what's called an assembly, you look at this movie which is every scene you wrote, every line of dialogue you wrote and you want to kill yourself the minute you see it. It's like, 'How did I write something so horrible?'

I wrote for Roseanne. I wrote her stand-up act with her. I wrote with Tom Arnold. There was a period when I was working with them pretty steadily. But I would take brief gigs here and there.

France was very opposite of the show-business experience I'd been living; I was anonymous and alone. I wore no makeup, wore the same clothes every day. And I wrote and wrote and wrote.

I wrote poems. That is my work. I am convinced... I believe that what I wrote will be useful to people not only now but in future generations.

'Reign' is probably the oldest one on the record. I wrote that when I was 19. 'The Dead They Don't Come Back,' which is the last song on the album, I wrote when I was 20, and 'Harlem River' I just wrote last year. It spans from 2007 to 2012.

There are some writers who wrote too much. There are others who wrote enough. There are yet others who wrote nothing like enough to satisfy their admirers, and Jane Austen is certainly one of these.

Larry only ever wrote one song, and he wrote that with Tony Kaye, I think it was, from Yes.

There is a big difference between No. 1 and No. 2. I don't care who wrote it. I'd love to one day have a No. 1 that I wrote, but if that ain't in the cards, whatever. My job is right now is to make the best music I can and try to get it to the people, whether it be something that I wrote or not. It's my job to be the best I can for the fans.

So I wrote what I hoped would be science fiction, I was not at all sure if what I wrote would be acceptable even. But I don't say that I consciously wrote with humour. Humour is a part of you that comes out.

I was incredibly determined - I wrote short stories, I wrote the beginnings of novels. I wrote a little children's book and sent it to the editor-in-chief of the children's division of Simon and Schuster and she asked me to write a little children's book for a series she was doing.

I didn't go to bookshops to buy. That's a little bourgeois. I went because they were civilized places. It made me happy there were people who sat down and wrote and wrote and wrote and there were other people who devoted their lives to making those words into books. It was lovely. Like standing in the middle of civilization.

I look at some of the songs I wrote years ago and I can't believe I wrote such crap.

I wrote my own verses. Anything I did, I wrote myself.

I wrote 'Threnody,' then I wrote several works where I changed my music completely.

I get the biggest kick out of it, to hear words that I wrote and chords that I wrote being sung by somebody else.

I wrote from the time I was four. It was my way of screaming and yelling, the primal scream. I wrote like a junkie, I had to have my daily fix.

You know, most reporters can't go back to the towns they wrote stories about. I never wrote that kind of story.

For 30 years I wrote for newspapers and magazines, wrote books on the Dallas Cowboys' dynasties of the '70s and '90s, wrote about Michael Jordan in Chicago and Barry Bonds in the Bay Area, even wrote columns for ESPN.com from 2004 to 2006.

Read this and thought of you: Through joy and through sorrow, I wrote. Through hunger and through thirst, I wrote. Through good report and through ill report, I wrote. Through sunshine and through moonshine, I wrote. What I wrote it is unnecessary to say. ~ Edgar Allen Poe

We wrote the songs we wrote - we took from our own experiences, melded it together, and wrote what became 'Appetite For Destruction.'

When I wrote for myself before as an artist, I probably wrote about 15, 20 songs a year. I thought that was a lot. Then, when I first started writing for the people, I wrote, like, 65 songs in a year for two years in a row.

The first song I wrote was called 'Here I Go Falling In Love' I wrote it in the sixth grade.

You know what I did after I wrote my first novel? I shut up and wrote twenty-three more.

I wrote The Same Sea not as a political allegory about Israelis and Palestinians. I wrote it about something much more gutsy and immediate. I wrote it as a piece of chamber music.

I wrote some of the worst poetry west from the Mississippi River, but I wrote. And I finally sometimes got it right.

When I wrote the Anita Hill book I believed everything I wrote was accurate.

My mother had died when I wrote my first book. I was twenty-seven, so it was right at the beginning of my writing life. I don't know if she had lived, if I would have done it, certainly not quite like I did. But, you can't rethink it. You wrote what you wrote, it meant something to other people, and that's your good.

You don't think it was because a white man wrote it, a black man wrote it, a green man wrote it. What-doesn't make a difference!

I would like to tell you that I wrote my book to push back artistic boundaries. But I didn't. I wrote it to impress a girl.

In the immediate aftermath of the separation I just wrote and wrote and wrote. And wrote and wrote and wrote. Thank God I had that as an outlet.

I wrote a huge number of letters that spring: one a week to Naoko, several to Reiko, and several more to Midori. I wrote letters in the classroom, I wrote letters at my desk at home with Seagull in my lap, I wrote letters at empty tables during my breaks at the Italian restaurant. It was as if I were writing letters to hold together the pieces of my crumbling life.

Ah, yes! I wrote the "Purple Cow" - I'm sorry, now, I wrote it! But I can tell you anyhow, I'll kill you if you quote it!

I wrote a letter to my Dad - I wrote, "I really enjoy being here," but I accidentally wrote rarely instead of really. But I still wanted to use it, so I wrote, "I rarely drive steamboats, Dad - there's a lot of stuff you don't know about me. Quit trying to act like I'm a steamboat operator." This letter took a harsh turn right away.

I started to write. And I wrote and wrote all through high school.