63af7ee
|
"How to preside over your own internal disorder? Finding the "I" that can represent the pack of you is the first challenge of the memoirist."
|
|
writing
writing-process
|
Tracy Kidder |
e3772d4
|
I was born with the ability to see in metaphor.
|
|
metaphor
seeing
writing
listen
experience
listening
|
Mark Nepo |
ad1ffbf
|
If he (John Adams) could not control events, he could at least record them for posterity - perhaps the ultimate form of control.
|
|
writing
journalism
perspective
|
Joseph J. Ellis |
f79dd82
|
"There is one myth about writers that I have always felt was particularly pernicious and untruthful--the myth of the "lonely writer," the myth that writing is a lonely occupation, involving much suffering because, supposedly, the writer exists in a state of sensitivity which cuts him off, or raises him above, or casts him below the community around him. This is a common cliche, a hangover probably from the romantic period and the idea of the artist as a Sufferer and a Rebel. Probably any of the arts that are not performed in a chorus-line are going to come in for a certain amount of romanticizing, but it seems to me particularly bad to do this to writers and especially fiction writers, because fiction writers engage in the homeliest, and most concrete, and most unromanticizable of all arts. I suppose there have been enough genuinely lonely suffering novelists to make this seem a reasonable myth, but there is every reason to suppose that such cases are the result of less admirable qualities in these writers, qualities which have nothing to do with the vocation of writing itself."
|
|
writing-life
writing
fiction-writers
lonely-writer
novelists-life
writing-mindset
writing-myths
novelist
writers-on-writing
writing-process
|
Flannery O'Connor |
a3bf42b
|
I suppose one has to be desperate, to be a successful writer. One has to reach a rock-bottom at which one can afford to let everything go hang. One has got to damn the public, chance one's living, say what one thinks, and be oneself. Then something may come out.
|
|
writing
|
T.H. White |
3b707a4
|
I lost my voice, but I had words.
|
|
words
writer
writing
|
Roxane Gay |
76e3508
|
"He had entered another imaginative world, one connected to the beginning of his life as a writer, to the Napoleonic world that had been a lifelong metaphor for the power of art, for the empire of his own creation He began to dictate notes for a new novel, "fragments of the book he imagines himself to be writing." As if he were now writing a novel of which his own altered consciousness was the dramatic center, he dictated a vision of himself as Napoleon and his own family as the Imperial Bonapartes....William and Alice he grasped with his regent hand, addressing his 'dear and most esteemed brother and sister.' To them, to whom he had granted countries, he now gave the responsibility of supervising the detailed plans he had created for 'the decoration of certain apartments, here of the Louvre and Tuileries, which you will find addressed in detail to artists and workment who take them in hand.' He was himself the 'imperial eagle.' Taking down the dictation, Theodora [his secretary] felt it to be almost more than she could bear. 'It is a heart-breaking thing to do, though, there is the extraordinary fact that his mind retain the power to frame perfectly characteristic sentences."
|
|
writing
death
imagination
sentence-structure
syntax
delirium
hallucination
novel-writing
language
novelists
creativity
|
Fred Kaplan |
55f4291
|
But books don't happen by accident.
|
|
writing
|
Scott Westerfeld |
e41a1b8
|
I had come to the conclusion - based on experience - that the only real way of learning to write a novel was probably to write a novel.
|
|
writing
on-writing
|
Diana Gabaldon |
d1404fe
|
One can forgive Shakespeare anything, except one's own bad lines.
|
|
shakespeare
writing
oscar-wilde
|
Peter Ackroyd |
f9f7e96
|
Sometimes it's beautiful and we fall in love with all that story. Even after a thousand pages we don't want to leave the world the writer has made for us, or the make-believe people who live there. You wouldn't leave after two thousand pages, if there were two thousand. The Rings trilogy of J.R.R.Tolkien is a perfect example of this. A thousand pages of hobbits hasn't been enough for three generations of post-World War II fantasy fans; even when you add in that clumsy, galumphing dirigible of an epilogue, The Silmarillion, it hasn't been enough. Hence Terry Brooks, Piers Anthony, Robert Jordan, the questing rabbits of Watership Down, and half a hundred others. The writers of these books are creating the hobbits they still love and pine for; they are trying to bring Frodo and Sam back from the Grey Havens because Tolkien is no longer around to do it for them.
|
|
tolkien
writing
hobbits
lotr
|
Stephen King |
a18cde6
|
Until writing was invented, man lived in acoustic space: boundless, directionless, horizonless, in the dark of the mind, in the world of emotion, by primordial intuition, by terror. Speech is a social chart of this bog.
|
|
reading
writing
sound
language
speech
|
Marshall McLuhan |
f2a5445
|
The letters released something, maybe a sense that he was not alone, that the world was a place where travelers in language could know the same things.
|
|
solitude
writing
|
Don DeLillo |
5517c17
|
"Ayon kay Georges Simenon, ang dahilan daw ng pagsusulat n'ya ay "to exorcise the demon in me." Totoo yon para sa karamihan ng mga manunulat. Ang pagpuksa sa mga personal na demonyo ang nagsilbing makina sa likod ng mga di na mabilang na sanaysay, kwento, at tula. Ang manunulat ay biktima ng isang sumpa na para sa karaniwang tao ay ligo lang ang katapat."
|
|
writing
pagsusulat
|
Bob Ong |
6857729
|
There's a little trick called the Rule of Three: if you use any three of the five senses, it will make the scene immediately three-dimensional.
|
|
sex
writing
|
Diana Gabaldon |
82b12b2
|
Thus all art is propaganda and ever must be, despite the wailing of the purists. I stand in utter shamelessness and say that whatever art I have for writing has been used always for propaganda for gaining the right of black folk to love and enjoy. I do not care a damn for any art that is not used for propaganda. But I do care when propaganda is confined to one side while the other is stripped and silent.
|
|
history
writing
propaganda
|
W.E.B. Du Bois |
a765b3d
|
"Henry Luce to his Time magazine writers: "Tell the history of our time through the people who make it."
|
|
writing
leadership
motivation
narrative
storytelling
|
Walter Isaacson |
13ac237
|
How to generate writing ideas, things to write about? Whatever's in front of you is a good beginning. Then move out into all streets. You can go anyplace. Tell me everything you know. Don't worry if what you know you can't prove or haven't studied.
|
|
writing
knowledge
|
Natalie Goldberg |
c1fac72
|
We're always thinking we should be writing no matter what else we might be doing. It's not fun. The life of an artist isn't easy. You're never free unless you are doing your art.
|
|
writing
inspirational
|
Natalie Goldberg |
6c5f324
|
The responsibility of literatuure is to make people awake, present, alive. If the writer wanders, then the reader, too, will wander.
|
|
writing
|
Natalie Goldberg |
7fd8cd7
|
It is very important to go home if you want your work to be whole. You don't have to move in with your parents and collect an allowance, but you must claim where you come from and look deep into it. Come to honor and embrace it, or at least, accept it.
|
|
writing
writing-advice
|
Natalie Goldberg |
207d343
|
Good sex scene is about the exchange of emotions, not bodily fluids
|
|
sex
writing
|
Diana Gabaldon |
c89c09e
|
[T]hey are trying to find the right word, to choose, finally, the one that is most exact, most incisive. It's a process of sifting, which is exhausting and, at times, exasperating. Writers can't avoid it. The heart of the craft lies there.
|
|
writing
|
Jhumpa Lahiri |
e5891b3
|
I would like there to exist places that are stable, unmoving, intangible, untouched and almost untouchable, unchanging, deep-rooted; places that might be points of reference, of departure, of origin: My birthplace, the cradle of my family, the house where I may have been born, the tree I may have seen grow (that my father may have planted the day I was born), the attic of my childhood filled with intact memories... My spaces are fragile: time is going to wear them away, to destroy them. Nothing will any longer resemble what was, my memories will betray me, oblivion will infiltrate my memory, I shall look at a few old yellowing photographs with broken edges without recognising them... Space melts like sand running through one's fingers. Time bears it away and leaves me only shapeless shreds: To write: To try meticulously to retain something, to cause something to survive; to wrest a few precise scraps from the void as it grows, to leave somewhere a furrow, a trace, a mark or a few signs.
|
|
time
mortality
writing
space
memory
|
Georges Perec |
2cbe5a9
|
"If Laura was so prolific with poems, and in truth she was, then what was the problem with Megan's request? Couldn't Laura, with a little doing, keep stringing together line after line of words and construct, in time, a novel? It seemed logical, but there was the matter of finding an idea and sustaining it. Only fire could do that. The fire of rebellion. Mario Vargas Llosa had not used the term "fire" exactly, but rather had discussed the presence of "seditious roots" that could "dynamite the world" the writer inhabited. He claimed that writing stories was an exercise in freedom and quarreling--out-and-out rebellion, whether or not the writer was conscious of it. And this rebellion, Vargas Llosa reminded his readers, was why the Spanish Inquisition had strictly censored works of fiction, prohibiting them for three hundred years in the American colonies."
|
|
writer
writing
novel-writing
writing-a-novel
mario-vargas-llosa
|
L.L. Barkat |
6577d4a
|
Most of my writing life consist of nothing more than unglamorous, disciplined labor. I sit at my desk and I work like a farmer, and that's how it gets done.
|
|
live
writing
work
|
Elizabeth Gilbert |
aa3bd66
|
"I have plenty of information now, but I can't get it into words. I'm afraid it's too big a task for me. I wonder if I will find everything in life too big for my abilities. Well, time will tell." Theodore Roosevelt, writing in naval history in his spare time while in law school" --
|
|
writing
self-confidence
discipline
|
Doris Kearns Goodwin |
7b24c32
|
I can arrange words on a page but I can't seem to organize books on a shelf. Over the years, My Secret has shelved thousands and thousands, held each one in his hands. He thinks they might have seeped into him, through his skin, as much as the books he's read. At night and on his days off we spend hours talking about writing. He reads three or four books at a time. When he's not working at the bookstore he goes to other bookstores around the city and browses until closing time. Holding more volumes in his hands, filling himself up with words.
|
|
words
writing
books
book-sellers
francesca-lia-block
the-thorn-necklace
|
Francesca Lia Block |
b9f5fd4
|
"Every few weeks she would shut herself up in her room, put on her scribbling suit, and "fall into a vortex" as she expressed it, writing away at her novel with all her heart and soul, for till that was finished she could find no peace. Her "scribbling suit" consisted of a black woollen pinafore on which she could wipe her pen at will, and a cap of the same material, adorned with a cheerful red bow, into which she bundled her hair when the decks were cleared for action. This cap was a beacon to the inquiring eyes of her family, who during these periods kept their distance, merely popping in their heads semi-occasionally, to ask, with interest, "Does genius burn, Jo?" They did not always venture even to ask this question, but took an observation of the cap, and judged accordingly. If this expressive article of dress was drawn low upon the forehead, it was a sign that hard work was going on; in exciting moments it was pushed rakishly askew; and when despair seized the author it was plucked wholly off, and cast upon the floor. At such times the intruder silently withdrew; and not until the red bow was seen gayly erect upon the gifted brow, did any one dare address Jo."
|
|
writing-life
writing
creative-process
writing-process
|
Louisa May Alcott |
b36fe20
|
"I feel like the secretary to the morning whose only/ responsibility is to take down its bright, airy dictation/
|
|
poetry
writing
small-joys
mundane
|
Billy Collins |
fbf3479
|
Only now, years after having read though the works of Shakespeare, Dickens, Scott, Poe, Balzac did he realise that even the most prolific writer created only one novel; throw away the individual bindings and the whole of each man's writing constituted one book: the true and complete portrait of himself. An artist had one thing to say, and one only; he might flail about, seek new techniques, forms, colour combinations, subjects, but intrinsically he would always paint the same canvas, write the same book.
|
|
writing
|
Irving Stone |
8e9a29e
|
By the time these stories were written, six decades had passed since the crucifixion. In that time, the evangelists had heard just about every conceivable objection to the resurrection, and they were able to create narratives to counter each and every one of them.
|
|
writing
resurrection
|
Reza Aslan |
4f39b9f
|
I was only good at one thing: words. I had read more, much more, than anybody else, and I knew how words worked in the way that some boys knew how engines worked.
|
|
writing
|
Jeanette Winterson |
f89d15d
|
Dimenticano che la vita non e qui. Altre leggi, nero su bianco, vigono qui. Un batter d'occhio durera quanto dico io, si lascera dividere in piccole eternita piene di pallottole fermate in volo. Non una cosa avverra qui se non voglio. Senza il mio assenso non cadra foglia, ne si pieghera stelo sotto il punto del piccolo zoccolo. C'e dunque un mondo di cui reggo le sorti indipendenti? Un tempo che lego con catene di segni? Un esistere a mio comando incessante? La gioia di scrivere. Il potere di perpetuare. La vendetta d'una mano mortale.
|
|
writing
|
Wisława Szymborska |
0a23a6b
|
The words come at my call but who calls whom?
|
|
writing
|
Jeanette Winterson |
ee81e1a
|
"I think "taste" is a social concept and not an artistic one. I'm willing to show good taste, if I can, in somebody else's living room, but our reading life is too short for a writer to be in any way polite. Since his words enter into another's brain in silence and intimacy, he should be as honest and explicit as we are with ourselves."
|
|
writing
taste
|
John Updike |
b80cceb
|
You'll be amazed how much you have in common with Edith Wharton (who struggled to feel worthy of success), Louisa May Alcott (who badly needed money), Madaleine L'Engle (who could have papered an entire house with her rejection letters) and other writers...
|
|
writing
impostor-syndrome
women-writers
|
Nava Atlas |
fac1ad8
|
Since language is the only tool with which writers can reflect and shape a culture, it must be transformed into art. Language is not a limitation on the art of literature; it is a glorification. It has been the scaffolding inside which nations and philosophies have been built, and the language of literature has added the ornamental pediment by which the culture is remembered.
|
|
literature
writing
legacy
language
writers
|
E.L. Konigsburg |
d54fefa
|
You don't need to know the purpose as you write, but when you read over something you've written, you should be able to point to any given element--be that a line of dialogue, a descriptive phrase, a plot point--and say why it's there.
|
|
sex
writing
|
Diana Gabaldon |
758c824
|
"Wait," Charlotte said. "I'd like to say something, if I may, Papa." He nodded, and Charlotte stood. Her siblings were still looking very grave. She hoped they were in the proper frame of mind to hear what she had to say, especially Branwell. "I have been thinking a great deal about ... My stories." She nodded significantly to them, willing them to understand that she was not talking about writing so much as about crossing over. "Papa was very wise when he called my writing a childish habit, and I think he understands that, for me, its a dangerous one as well." The small square of paper that had caused such consternation lay in front of her on the table. Now she took it up and held it out, looking at each if her siblings in turn. "Emily. Anne. Branwell." She ripped the paper in half. Emily gasped. " I am renouncing my invented worlds and all who live there. If any of you are in the grip if a similar childish habit"- she raised an eyebrow at her brother - "I challenge you to do the same."
|
|
writing
childish
challenge
charlotte-bronte
stories
|
Lena Coakley |
8973b98
|
A story that has nothing but action and plot is a pretty poor affair; and some great stories have neither.
|
|
writing
|
Ursula K. Le Guin |
6a3e392
|
"It's a note. Let me read it for you. 'Couldn't anyone else see that they were all slaves of Satan? I had to cleanse the world of their evil. I am the hand of God. Why else would security have let me into the building with an assault rifle in my suitcase? I am a divine instrument.'" Tommy paused and looked up. "That's all I have so far, but I'll guess I end it with an apology to my mom. What do you think?"
|
|
writing
humor
evil
|
Christopher Moore |
f0e9d04
|
Daniel C. Dennett, un filosofo della Tufts University che ne sa sia di neuroscienze che di informatica, sostiene che la coscienza stessa ha un aspetto essenzialmente narrativo, radicato nell'evoluzione biologica del cervello. Non ho la competenza per riassumere le argomentazioni di Dennett, ma vengo persuaso d'acchito dalle sue conclusioni - perlomeno se considerate come una narrazione esplicativa. Egli concepisce la coscienza essenzialmente come <>; concepisce il se come un come se, un <> - in breve, una fantastica e incessante narrazione. <>, afferma il professor Dennett - storie che rivediamo e rettifichiamo in continuazione e che in continuazione rivedono e rettificano noi stessi. A questo punto vi chiedo: il meditare su domande del genere ha mai reso chicchessia uno scrittore migliore? Non sarebbe piu saggio se un narratore meditasse sulla casistica dell'amore, sui particolari di un tramonto, o magari sulle vicissitudini della nave spaziale U.S.S. Enterprise? Forse si, forse no. Ma nel porci domande del genere, come nel creare di continuo situazioni ipotetiche, facciamo quello che ci viene naturale - che forse viene piu naturale ad alcune persone che ad altre.
|
|
writing
nonfiction
|
John Barth |
caebd80
|
I needed a drink. I needed a lot of life insurance. I needed a vacation. What I had was a coat, a hat and a gun.
|
|
writing
inspirational
hard-boiled
|
Raymond Chandler |
b3fa4a3
|
You want to anchor the scene with physical details, but by and large it's better to use sensual details rather than overtly sexual ones.
|
|
sex
writing
|
Diana Gabaldon |
1534ba0
|
I was learning the craft of poetry, which really was an intensive version of what my mother had taught me all those years ago -- the craft of writing as the art of thinking. Poetry aims for an economy of truth -- loose and useless words were not separate from loose and useless thoughts. Poetry was not simply the transcription of notions -- beautiful writing rarely is. I wanted to learn to write, which was ultimately, still, as my mother had taught me, a confrontation with my own innocence, my own rationalizations. Poetry was the processing of my thoughts until the slag of justification fell away and I was left with the cold steel truths of life.
|
|
writing
|
Ta-Nehisi Coates |
3e13c0d
|
C'est en ecrivant qu'on devient ecriveron
|
|
writing
|
Raymond Queneau |
e1b2889
|
"But now, after the news of Barthelme's death, this simple fact of or , which I had begun to recognize in a small way already, now became the single most important supplemental piece of information I felt I could know about a writer: more important than his age when he wrote a particular work, or his nationality, his sex (forgive the pronoun), political leanings, even whether he did or did not have, in someone's opinion, any talent. -- just tell me that. The intellectual surface we offer to the dead has undergone a subtle change of texture and chemistry; a thousand particulars of delight and fellow-feeling and forbearance begin reformulating themselves the moment they cross the bar. The living are always potentially thinking about and doing just what we are doing: being pulled through a touchless car wash, watching a pony chew a carrot, noticing that orange scaffolding has gone up around some prominent church. The conclusions they draw we know to be conclusions drawn from how things are now. Indeed, for me, as a beginning novelist, all other living writers form a control group for whom the world is a placebo. The dead can be helpful, needless to say, but we can only guess sloppily about how they would react to this emergent particle of time, which is all the time we have. And when we do guess, we are unfair to them. Even when, as with Barthelme, the dead have died unexpectedly and relatively young, we give them their moment of solemnity and then quickly begin patronizing them biographically, talking about how they "delighted in" x or "poked fun at" y -- phrases that by their very singsong cuteness betray how alien and childlike the shades now are to us. Posthumously their motives become ludicrously simple, their delights primitive and unvarying: all their emotions wear stage makeup, and we almost never flip their books across the room out of impatience with something they've said. We can't really understand them anymore. Readers of the living are always, whether they know it or not, to some degree seeing the work through the living writer's own eyes; feeling for him when he flubs, folding into their reactions to his early work constant subauditional speculations as to whether the writer himself would at this moment wince or nod with approval at some passage in it. But the dead can't suffer embarrassment by some admission or mistake they have made. We sense this imperviousness and adjust our sympathies accordingly. Yet in other ways the dead gain by death. The level of autobiographical fidelity in their work is somehow less important, or, rather, extreme fidelity does not seem to harm, as it does with the living, our appreciation for the work. The living are "just" writing about their own lives; the dead are writing about their irretrievable lives, wow wow wow. Egotism, monomania, the delusional traits of Blake or Smart or that guy who painted the electrically schizophrenic cats are all engaging qualities in the dead."
|
|
writing
|
Nicholson Baker |
f676e7b
|
Literary friendship is impossible, it seems; at least, it is impossible for me. Indeed, all male friendships outside of work sometimes seem to be impossible: you look at each other at the restaurant at some point in the conversation and you know that each of you is thinking, man, this is futile, why are we here, we're wasting our time, we have nothing to say, we're not involved in some project together that we can bitch about, we can't flirt, we feel like dummies discussing movies or books, we aren't in some moral bind with a woman that we need to confess, we've each said the other is a genius several times already, and the whole thing is depressing and the tone is false and we might as well go home to our wives and children and rent buddy movies like or or
|
|
writing
masculinity
|
Nicholson Baker |
585f67f
|
The thing about life is that life is an infinite subject matter. At any one moment you can say only what' before your mind just then. You have some control over what comes before your mind - you can influence the influx by reading, or by looking through your old notes, or by going to movies, or by talking to people, and you can choose what room of the house or what corner of the yard to sit in, and you can choose to write before or after you've masturbated - this is crucial - and you can choose to tell the truth or not to. And the difficult is that sometimes it's hard to tell the truth because you think that the truth is too personal, or too boring, to tell. Or both. And sometimes it's hard to tell the truth because the truth is hard to see, because it exists in a misty, gray non-space between two strongly charged falsehoods that sound true but aren't.
|
|
writing
|
Nicholson Baker |
f226234
|
We have a rich literature. But sometimes it's a literature too ready to be neutralized, to be incorporated into the ambient noise. This is why we need the writer in opposition, the novelist who writes against power, who writes against the corporation or the state or the whole apparatus of assimilation. We're all one beat away from becoming elevator music.
|
|
writing
opposition
revolution
novelists
writers
|
Don DeLillo |
cecb080
|
Rather than write about what you know, you told us, write about what you Assume that you know very little and that you'll never know much until you learn how to see.
|
|
seeing
writing
observation
knowledge
|
Sigrid Nunez |
bca3173
|
Anthropomorphism, I've decided, is inescapable, and though I might try to hide it I no longer fight it.
|
|
dogs
suicide
writing
love
grieving
|
Sigrid Nunez |
bb87889
|
Critics always praise precision in writing, and some great writers (Joyce, Beckett, Gustave Flaubert) are masters of clarity--but one of the great (and seldom mentioned) resources of fiction is vagueness.
|
|
writing
|
Edmund White |
3a69eda
|
The problem of self-loathing isn't new. What's new is the idea that it's the people with the history of greatest injustice who have the greatest right to be heard, and that the time has come for the arts not just to make room for them but to be dominated by them.
|
|
writing
representation
writers
|
Sigrid Nunez |
0612e96
|
Poetry aims for an economy of truth--loose and useless words must be discarded, and I found that these loose and useless words were not separate from loose and useless thoughts. Poetry was not simply the transcription of notions--beautiful writing rarely is. I wanted to learn to write, which was ultimately, still, as my mother had taught me, a confrontation with my own innocence, my own rationalizations. Poetry was the processing of my thoughts until the slag of justification fell away and I was left with the cold steel truths of life.
|
|
writing
|
Ta-Nehisi Coates |
c393967
|
The manager of my line told me, You never put anything down except to be read. Every word ever written is written to be read and if some go unread that's only chance, failure, they're like grubs that die without changing.
|
|
words
writing
|
China Miéville |
faf15f3
|
I simply vowed to the universe that I would write forever, regardless of the result. I promised that I would try to be brave about it, and grateful, and as uncomplaining as I could possibly be. I also promised that I would never ask writing to take care of me financially, but that I would always take care of it - meaning that I would always support us both, by any means necessary. I did not ask for any external rewards for my devotion; I just wanted to spend the rest of my life as near to writing as possible - forever close to that source of all my curiosity and contentment.
|
|
writing
|
Elizabeth Gilbert |
6b32db9
|
Art consist of a writer or painter's psychosis extirpated on the canvas of his choosing, a truism whether one is inspecting a Vincent Van Gogh masterpiece or deciphering the incomprehensible utterings and dissociated ramblings of one of the Philistines framed in the picaresque novel 'Confederacy of Dunces, written by American novelist John Kennedy Toole (1937-1969).
|
|
writing
memoir-writing
writers-voice
writing-style
essayist
writers-on-writing
writing-philosophy
writers-quotes
writing-process
|
Kilroy J. Oldster |
1562f29
|
(Cyril and Alice talking about Maude Avery and her books) 'I occasionally get letters from students asking for help with their theses.' 'And do you offer it?' 'No. It's all there in the books themselves. There's nothing much I can add that would be of any use to anyone.' 'You're right,' said Alice. 'So why any of them feel the need to talk about their work in public or give interviews is beyond me. If you didn't say what you wanted to say in the pages themselves, then surely you should have done another draft.' (p. 271)
|
|
writing
interpretation-of-literature
|
John Boyne |
c48ad88
|
Art is about the individual, the individual commitment not tethered to reward. For the maker, and later the reader or the viewer or the listener, there is no obvious reward. There is only the thing-in-itself, because you want it, because you're drawn to it. It speaks to the part of us that is fully human, the part that belongs only to ourselves, not mechanized, socialized, pacified, integrated, but voice-to-voice, across time, singing a song pitched to the human ear, singing of destiny, of fear, of loss, of hope, of renewal, of change, of connection, of all the subtle and fragile relationships between men and women, their children, their country, and all the things not measured or understood by the census figures and the gross national product.
|
|
writing
humanity
|
Jeanette Winterson |
bb8e3a5
|
And I thought about women. All these books, and how long had it taken for women to write their share, and why were their still so few women poets and novelists, and even fewer who were considered to be important?
|
|
writing
|
Jeanette Winterson |
6ae18d3
|
"I did Barbie's dream as a one-off thing, but I found it haunting me; I kept having an image in my head of Martin Tenbones getting killed in real New York. Still, that would've been the end of it...except, by a wild coincidence, a short time later I received a postcard from Jonathan Carroll. He wrote that he'd been following my graphic novel --which was being serialized in magazine at the time--and he was finding a number of very scary similarities between my story and his as yet unpublished novel, . He concluded, "We're like two radio sets tuned to the same goofy channel." I wrote back and said, "I think you're right. What's more, I abandoned a whole storyline after reading , but I keep thinking I ought to return to it." Jonathan then sent me a wonderful letter with this advice: "Go to it, man. Ezra Pound said that every story has already been written. The purpose of a good writer is to write it new. I would very much like to see a Gaiman approach to that kind of story." With that encouragement, I began creating ."
|
|
writing
neil-gaiman
jonathan-carroll
radio
interview
|
Hy Bender |
10441ec
|
It is a curiosity of writing about angels that, very often, one turns out to be writing about men.
|
|
writing
|
Donald Barthelme |
d82f79c
|
Escribir es un oficio que se aprende, pero que nadie puede ensenar. El dia que entienda usted lo que eso significa sera cuando empiece a aprender a ser escritor.
|
|
writing
|
Carlos Ruiz Zafón |
9bd51b2
|
I have kept this diary doggedly, day by day, because I believe a continuous record, no matter how full of trivialities, will always gradually reveal something of the subconscious mind behind it. I've never regretted keeping a diary yet. There are always a few nuggets of literary value under all that sand.
|
|
writing
gay-men
|
Christopher Isherwood |
74d0ed2
|
Escribio su nombre y contemplo como la tinta se secaba poco a poco. El placer de la pagina en blanco, que al principio siempre olia a misterio y a promesa, se desvanecio por ensalmo. Tan pronto como uno empezaba a colocar las primeras palabras comprobaba que en la escritura, como en la vida, la distancia entre intenciones y resultados iba pareja con la inocencia con que se acometian unas y se aceptaban los otros.
|
|
writing
lettering
escritura
|
Carlos Ruiz Zafón |
a333c63
|
Escribir es reescribir. Se escribe para uno mismo y se reescribe para los demas.
|
|
writing
|
Carlos Ruiz Zafón |
db1e43f
|
Do you have the courage? Do you have the courage to bring forth this work? The treasures that are hidden inside you are hoping you will say yes. [Author was quoting Jack Gilbert, which he reportedly had said to a student]
|
|
writing
|
Elizabeth Gilbert |
d4a133c
|
I wrote that book anyhow, because I needed to write it for my own intimate purposes - and also because I was curious to see if I could convey my emotional experiences adequately on paper.
|
|
writing
reason-for-writing
reasons-for-writing
why-i-write
why-to-write
why-we-write
why-write
writing-motivation
writing-inspiration
|
Elizabeth Gilbert |
86382a8
|
Most of my writing life, to be perfectly honest, is not freaky, old-timey, voodoo-style Big Magic. Most of my writing life consists of nothing more than unglamorous, disciplined labor. I sit at my desk and I work like a farmer, and that's how it gets done. Most of it is not like fairy dust in the least.
|
|
writing-life
writing
|
Elizabeth Gilbert |
ef9ceb8
|
"Men have external genitalia, while women have internal genitalia. This simple difference makes a lot of difference in how they write about themselves--and how you might write about your characters. Male writers don't often address internal sensation in a character, because they don't experience it (and probably often don't realize consciously that it's there). This accounts for a lot of Really Terrible sex scenes written by men (if you look at the "Bad Sex-Scene Awards" in any given year, you'll see that the vast majority are done by male writers)."
|
|
sex
writing
|
Diana Gabaldon |
896d344
|
To some extent, emotions are universal and can be treated that way; no matter what the participants' orientation or preference, they have sex for the same reasons and can experience the same array of emotions in the process. But there are three important distinctions to be made: 1. The logistics of physiology 2. The basics of sexual attraction 3. Cultural impact on character and situation
|
|
sex
writing
|
Diana Gabaldon |
a5182dc
|
But it wouldn't have half the power of a story in which Jamie and Claire truly conquer real evil and thus show what real love is. Real love has real costs--and they're worth it. I've always said all my books have a shape, and Outlander's internal geometry consists of three slightly overlapping triangles. The apex of each triangle is one of the three emotional climaxes of the book: 1) when Claire makes her wrenching choice at the stones and stays with Jamie, 2) when she saves Jamie from Wentworth, and 3) when she saves his soul at the abbey. It would still be a good story if I'd had only 1 and 2--but (see above), the Rule of Three. A story that goes one, two, three, has a lot more impact than just a one-two punch.
|
|
sex
writing
|
Diana Gabaldon |
d010541
|
"Okay. This has to be a credible threat. Ergo, we have to have seen (and heard about) the real damage Randall has done to Jamie thus far; we have to be in no doubt whatever that he'd do real damage to Claire. We can't just say, "Oh, he's such a nasty person, you wouldn't believe..." We have to believe, and therefore appreciate, just what Jamie is doing when he trades what's left of his life for Claire's."
|
|
sex
writing
|
Diana Gabaldon |
cba8fab
|
Almost everybody understands that you have to have something at stake for a story to be good.
|
|
sex
writing
|
Diana Gabaldon |
0b30277
|
One of the general patterns of good (i.e., striking and memorable) writing is the effect of repetition. If you use a certain element--a plot device, an image, a noticeable phrase--once, readers may or may not notice it consciously, but it doesn't disturb the flow of their reading. If you use that element twice, they won't notice it consciously--but they will notice it subconsciously, and it will add to the resonance of the writing or to their sense of depth and involvement (and if it's a plot device, it will heighten the dramatic tension). But if you use that element three times, everybody will notice it the third time you do it.
|
|
sex
writing
|
Diana Gabaldon |
56855cb
|
This is why you use imagery when writing about sex; it's a means both of evoking immediacy and of distilling emotion.
|
|
sex
writing
|
Diana Gabaldon |
8c22690
|
For a different woman, a different relationship, a different situation, gentleness might have been the proper, the only approach--but not for this woman, in these circumstances. The only thing that will cleanse Claire (and reassure her: look at what she says at the end of it. She feels safe again, having felt the power and violence in him) is violence. And--the most important point here--Jamie pays attention to what she wants, rather than proceeding with his own notion of how it should be, even though it's a sensible notion and the one most people would have.
|
|
sex
writing
|
Diana Gabaldon |
0f74c22
|
Jamie's viewpoint is expressed almost entirely in metaphor: If she was broken, she would slash him with her jagged edges, reckless as a drunkard with a shattered bottle. He's using physical language, but he isn't talking about the physical details of the situation. Claire alludes to her emotion and shows it by her actions, but Jamie is thinking directly in pure emotions.
|
|
sex
writing
|
Diana Gabaldon |
096141b
|
Just as an effective advertisement or page layout includes a lot of white space, a powerful scene requires immense restraint. Show things as simply as possible.
|
|
sex
writing
|
Diana Gabaldon |
7c7190a
|
Watch a good movie sometime without reference to what's happening but only with attention to how it was photographed; you'll see the change of focus--zoom in, pan out, close-up on face, fade to black, open from above--easily. You want to do that in what you write; it's one of the things that keep people's eyes on the page, though they're almost never conscious of it.
|
|
sex
writing
|
Diana Gabaldon |
a6180e7
|
If there's true emotional content in a situation between characters, all you do is reveal it.
|
|
sex
writing
|
Diana Gabaldon |
ae667ee
|
Pointing out the emotion in a scene is like laughing at your own jokes.
|
|
sex
writing
|
Diana Gabaldon |
bfa4fbf
|
Dialogue doesn't take place in a vacuum. Dialogue is contradictory, in that it can either speed up or slow down a passage.
|
|
sex
writing
|
Diana Gabaldon |
9e6db0a
|
Don't let characters talk pointlessly--they only talk if there's something to say.
|
|
sex
writing
|
Diana Gabaldon |
ec35828
|
As a rule of thumb, four consecutive lines of dialogue is about as much as you want to have without a tag.
|
|
sex
writing
|
Diana Gabaldon |
1197902
|
"Don't go overboard in avoiding "said." Basically, "said" is the default for dialogue, and a good thing, too; it's an invisible word that doesn't draw attention to itself."
|
|
sex
writing
|
Diana Gabaldon |
2000336
|
There was a shop on Lexingon that advertised passport pictures. I like to go sometimes. I keep them in a little album. Mostly they're of me, except for one, which ia of Isaac, aged five, and another of my cousin, the locksmith. He was an amateur photographer and one day he showed me how to make a pinhole camera. This was the spring of 1947. I stood in the back of his tiny shop watching him fix the photographic paper inside the box. He told me to sit, and shone a lamp on my face. Then he removed the cover over the pinhole. I sat so still I was hardly breathing. When it was finished we went into the darkroom and dropped it in the developing pan. We waited. Nothing. Where I should have been there was only scratchy grayness. My cousin insisted we do it again, so we did it again, and again, nothing. Three times he tried to take a picture of me with the pinhole camera, and three times I failed to appear. My cousin couldn't understand it. He cursed the man who sold him the paper, thinking he'd been given a bad batch. But I knew he hadn't. I knew that the way others had lost a leg or an arm, I'd lost whatever the thing is that makes people indelible. I told my cousin to sit in the chair. He was reluctant, but finally he agreed. I took a photograph of him, and as we watched the paper in the developing pan his face appeared. He laughed. And I laughed, too. It was I who'd taken the picture, and if it was proof of his existence, it was also proof of my own. He let me keep it. Whenever I took it out of my wallet and looked at him, I knew I was really looking at me.
|
|
writing
|
Nicole Krauss |
a78cdca
|
A friend of mine who is working on a memoir says, I hate the idea of writing as some kind of catharsis, because it seems like that can't possibly produce a good book. You cannot hope to console yourself for your grief by writing, warns Natalia Ginzburg. Turn then to Isak Dinesen, who believed that you could make any sorrow bearable by putting into into a story or telling a story about it.
|
|
grief
loss
sorrow
writing
|
Sigrid Nunez |
aec6197
|
To her, writing is making stock and reading is sipping broth, but only the spoken word is the full roasted chicken.
|
|
writing
|
Yann Martel |
d6fc0f0
|
"Cainan (sometimes the name is spelled Kainam) was the son of Arpachsad: "And the son grew, and his father taught him writing, and he went to seek for himself a place where he might seize for himself a city. And he found a writing, which former generations had carved on the rock, and he read what was thereon, and he transcribed it and sinned owing to it, for it contained the teaching of the Watchers in accordance with which they used to observe the omens of the sun, moon and stars in all the signs of heaven." Here, then, is the origin of the star worship of the Sabians traced all the way back to the mysterious Watchers--whoever they were, whatever they are--who settled in the Near East in antediluvian times, taught our ancestors forbidden knowledge, broke some fundamental commandment by mating with human women and, as a result, were remembered as being responsbile for the great global cataclysm of the Deluge."
|
|
writing
sabians
watchers
astronomy
generations
teachings
knowledge
|
Graham Hancock |
fead8f6
|
It's not what's happened or what's about to happen; what's important is the sense of emotional uncertainty between the characters and the delicacy of the mutual trust being established.
|
|
sex
writing
|
Diana Gabaldon |
b3545ff
|
Times change and discoveries are made that render earlier techniques and approaches less effective. Change is inevitable. To remain rigid when the whole world is changing and advancing is to invite misfortune. The AA program in particular is challenged with an opportunity of unprecedented magnitude.
|
|
opportunity
reading
writing
change
alcoholics-anonymous
addiction
addiction-cure
addiction-treatment
chris-prentiss
challenge
|
Chris Prentiss |
32e997e
|
My between-books strategy was reading voraciously and on a whim.
|
|
writing
leisure
|
Erik Larson |
7d3beb1
|
"Before he wrote about them," said Quilty, pretending to read the guidebook out loud, "Hemingway shot his characters. It was considered an unusual but not unheard-of creative method. Still, even within literary circles, it is not that widely discussed."
|
|
writing
|
Lorrie Moore |
e51738f
|
When secrets are unspoken and unwritten they are lodged safely in the mind, but writing them down seems to let them loose and give them the power to spread like pollen on the air and enter into other minds.
|
|
writing
secrets
|
P.D. James |
ed65e59
|
Sometimes writing is hard. You know what's not hard? Watching Netflix. That's easy.
|
|
writing
|
Beth Revis |
0e97fa9
|
I love it for what it tells me about life. I love fiction, strangely enough, for how true it is, If it can tell me something I didn't already know, or maybe suspected but never framed quite that way, or never before had sock me so divinely in the solar plexus, that was a story worth a read.
|
|
writing
|
Barbara Kingsolver |
501d71b
|
All the noise in my brain. I clamp it to the page so it will be still.
|
|
writing
reader
|
Barbara Kingsolver |
0f886fe
|
"I suppose you must feel some bitterness against the historians," Roger ventured. "All the writers who got it wrong--made him out to be a hero. I mean, you can't go anywhere in the Highlands without seeing the Bonnie Prince on toffee tins and souvenir tourist mugs." Claire shook her head, gazing off in the distance. The evening mist was growing heavier, the bushes beginning to drip again from the tips of their leaves. "Not the historians. No, not them. Their greatest crime is that they presume to know what happened, how things come about, when they only have what the past chose to leave them behind--for the most part, they think what they were meant to think, and it's a rare one that sees what really happened, behind the smokescreen of artifacts and paper." There was a faint rumble in the distance. The evening passenger train from London, Roger knew. You could hear the whistle from the manse on clear nights. "No, the fault lies with the artists," Claire went on. The writers, the singers, the tellers of tales. It's them that take the past and re-create it to their liking. Them that could take a fool and give you back a hero, take a sot and make him a king." "Are they all liars, then?" Roger asked. Claire shrugged. In spite of the chilly air, she had taken off the jacket to her suit; the damp molded the cotton shirt to show the fineness of collarbone and shoulder blades. "Liars?" she asked. "Or sorcerers? Do they see the bones in the dust of the earth, see the essence of a thing that was, and clothe it in new flesh, so the plodding beast reemerges as a fabulous monster?"
|
|
writing
|
Diana Gabaldon |
680e0aa
|
Though he had spoken of the subject many times, in the silence of his room he added the powerful kind of phrasing that would not have occurred to him as he spoke, because it's origins were in the collaboration of hand and pen.
|
|
writing
|
Mark Helprin |
4c2c15d
|
I'm fond of joking that when I get stuck in writing, I'll kill a character or blow something up (in the novel...usually).
|
|
writing
|
Beth Revis |
900c170
|
Writing, which was both painful and palliative for me, turned out to be my own way of giving blood in a crisis. I can only hope this unit of words will have a longer shelf life than the forty-two days of a unit of blood, as this critical time blends seamlessly into the next one.
|
|
writing
timelessness
|
Barbara Kingsolver |
8f0cf2e
|
You've finally written it? That's great! She asked me if I'd read to her from it and I said no. Just a paragraph? No. A sentence? No. Half a sentence! One word? No. A letter? I said okay, that I would read the first letter of the novel. She smiled and closed her eyes and sort of burrowed into her bed like she was preparing herself for a delicious treat. I asked her if she was ready and she nodded, still smiling, eyes closed. I stood and cleared my throat and paused and then began to read. L. She sighed and lifted her chin to the ceiling, opened her eyes and told me it was beautiful, BEAUTIFUL, and true, the best thing I'd written yet.
|
|
writing
sharing
sisters
|
Miriam Toews |
debc5e3
|
People wonder at the romantic lives of poets and artists, but they should rather wonder at their gift of expression. The occurrences which pass unnoticed in the life of the average man in the existence of a writer of talent are profoundly interesting. It is the man they happen to that makes their significance.
|
|
experiences
poets
writer
writing
maugham
w-somerset-maugham
expression
authors
|
W. Somerset Maugham |
2e6f0c0
|
Julian me habia dicho alguna vez que un relato es una carta que el autor se escribe a si mismo para contarse cosas que de otro modo no podria averiguar. Hacia tiempo que Julian se preguntaba si habia perdido la razon. ?Sabe el loco que esta loco?
|
|
writing
|
Carlos Ruiz Zafón |
aa9dbdf
|
"Tate explained that James was able to achieve this magic through the use of the first-person narrator. Tate said that the first person is the most difficult form because the writer is locked inside the head of the narrator and can't get out. He can't say "meanwhile, back at the ranch" as a transition to another subject because he is imprisoned forever inside the narrator. But so is the reader! And that is the strength of the first-person narrative. The reader does not see that the governess is the villainess because what the governess sees is all the reader ever sees."
|
|
writing
unreliable-narrator
villain
puzzle
|
Robert M. Pirsig |
b594118
|
Escribiria sobre gente y lugares que yo conociera, y haria que mis personajes hablaran un lenguaje cotidiano. Y dejaria que el sol se levantara y se pusiera de la forma normal y tranquila que hace normalmente, sin hacer muchas alharacas al respecto. Si tuviera que introducir un villano en mi historia, le daria una oportunidad (...) Supongo que hay algunos hombres malvados en el mundo, pero hay que andar un buen rato para encontrarlos.
|
|
writing
anne-of-green-gables
ana-la-de-tejas-verdes
anne-of-the-island
writing-inspiration
villains
|
L.M. Montgomery |
e157cfc
|
[...] the day when male writers can speak for women is speeding by. Fast.
|
|
writer
writing
|
Julie Phillips |
f981cd5
|
Norman Mailer enhances the beauty of pugilism by elegantly exploring it.
|
|
writing
vocabulary
trouble
|
Davis Miller |
cf0b922
|
"Payne sought clarification. "Vertical or horizontal?" "Horizontal, of course." "Sorry but I can't help you." "Will you pipe down for a minute? Naturally she was dead since I work at a cemetery. Her face struck a chord though. So, I rummaged around in the old Rory memory bank, and Emily is what rings a bell. Didn't we go to school with an Emily? Tenth or eleventh grade, if I recall it correctly."
|
|
romance
writing
thriller
crime-fiction
mystery
suspense
|
Ed Lynskey |
0146c01
|
I had no way to stop . I did not write Fahrenheit 451, it wrote me.
|
|
writing
ray-bradbury
|
Ray Bradbury |
8889ee9
|
So while our art cannot, as we wish it could, save us from wars, privation, envy, greed, old age, or death, it can revitalize us amidst it all.
|
|
writing
|
Ray Bradbury |
64ab1ec
|
"Squashed behind The Cloud of Unknowing we discovered a pocket-size spiral notebook with a day-by-day account of the time Justin had stayed with her and her husband after Tommy's death. The writing was legible though it required effort (this was before she took her calligraphy course), but Justin was ecstatic and asked if he could have the little notebook. "This is my history," he said. Later, after he had deciphered every last word: "Boy, was I loved."
|
|
writing
personal
|
Gail Godwin |
cf95bc3
|
For a few weeks you got up at six to compose short stories at the kitchen table with while Amanda slept in the other room. Then your night life started getting more interesting and complicated, and climbing out of bed became harder and harder. You were gathering experience for a novel. You went to parties with writers, cultivated a writerly persona. You wanted to be Dylan Thomas without the paunch. F. Scott Fitzgerald without the crack-up. You wanted to skip over the dull grind of actual creation.
|
|
writing
|
Jay McInerney |
0cc3567
|
This is where we work, in the interstices of ignorance, the land of contradiction and silence, planning to convince you with the seemingly known, to resolve - or make usefully vivid - the contradiction, and to make the silence eloquent.
|
|
understanding
writing
|
Julian Barnes |
996c7bd
|
l ynbGy llns 'n yuTl`n `ushWqhnW `l~ m yD`n min ktub
|
|
writing
العشاق
الكتابة
|
Marguerite Duras |
fe59cec
|
"You have always wanted to be a writer. Getting the job at the magazine was only your first step toward literacy celebrity. You used to write what you believed to be urbane sketches infinitely superior to those appearing in the magazine every week. You sent them up to Fiction; they came back with polite notes. "Not quite right for us now, but thanks for letting us see this." You would try to interpret the notes: what about the word now-do they mean that you should submit this again, later? It wasn't the notes so much as the effort of writing that discouraged you."
|
|
writing
|
Jay McInerney |
58fa832
|
I claim no victory. But there was blood on my gloves when I hung them up. When was the last time you did a story like that, out of pure indignation?
|
|
writing
|
Ray Bradbury |
4da3f95
|
There is no such thing as reproduction, only acts of production.
|
|
writing
parenting
children
|
Andrew Solomon |
2fd11b2
|
fbm nWy kntu 'ktb .. twjWb lHdyth `n lktb , whdh m l ytHmWlh lrjl , l ytHmWlwn mr'@an tktb. nWh 'mrun l yuTq blnsb@ l~ lrjl , shqW `l~ ljmy`
|
|
men
writing
الرجال
الكتابة
الكتب
|
Marguerite Duras |
05b336b
|
He wrote very well in those days, as it happens, much better than he does now. He had absolute convictions, and style is nothing more than the absolute conviction of possessing a style.
|
|
writing
latin-american-authors
writing-quotes
style
|
Ricardo Piglia |
a107ad8
|
She liked the way the words sounded. She imagined them floating above her in a comic-strip bubble
|
|
words
writing
|
Kate DiCamillo |
6574ce4
|
After the third [San Miguel], I am likely to announce that all writing is fantasy anyway: that to set any event down in print is immediately to begin to lie about it, thank goodness; and that it's no less absurd and presumptuous to try on the skin of a bank teller than that of a Bigfoot or a dragon.
|
|
writing
fantasy
authorship
|
Peter S. Beagle |
042b098
|
Many writers, good writers who ought to know better, focus so tightly on the structure demanded by a crime story that they lose track of the fact that they are writing a novel. Accusations of both sensationalism and trivialisation are, alas, often justified.
|
|
fiction
writing
genre-fiction
genre
thriller
technique
|
Laurie R. King |
6929140
|
People who can read and write expertly, as you can, are miracles and, in my opinion, entitle us to suspect we might be civilized after all.
|
|
reading
writing
miracles
|
Kurt Vonnegut Jr. |
5b584ca
|
A related point: The job of the imagination, in making a story from experience, may be not to gussy the story up but to tone it down. The fact is, the world is unbelievably strange and human behavior is frequently so weird that no kind of narrative except farce or satire can handle it. The function of the storyteller's imagination sometimes is simply to make it more plausible.
|
|
fiction
writing
life
storytelling
|
Ursula K. Le Guin |
e32c503
|
Zapochnakh da pisha v obkr'zhenie, koeto tv'rde silno me tlaskashe k'm tselom'drie. Pisaneto togava beshe moralen akt. Pisaneto sega kato che li chesto e lisheno ot smis'l. Poniakoga os'znavam slednoto: che ako pisaneto ne oznachava domogvane do suetata i prekhodnostta kato s'vkupnost ot vsichki neshcha, to niama smis'l. Che ako ne oznachava nepremenno slivane na vsichki neshcha v edno-edinstveno, neokachestvimo po svoiata s'shchnost neshcho, pisaneto niama drug smis'l, osven samoizt'kvane. No nai-chesto niamam mnenie, vizhdam, che vsichki poleta sa otkriti, siakash ne s'shchestvuvat veche steni, siakash napisanoto ne znae veche k'de da se dene, za da se skrie, za da se os'shchestvi, za da se prochete, siakash izkonnata mu neblagopristoinost ne se zachita veche, no ne se zamisliam po-d'lboko nad tova.
|
|
writing
then
|
Marguerite Duras |
86334ba
|
Too many words for one book--truth might be stranger than fiction, but it needs a better editor.
|
|
fiction
writing
truth
editor
|
David Benioff |
73d9084
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If I can give one bit of advice to any drama major, high school theater kid, or inmate who is reading this in a prison library with dreams of being cast in he prison play, its this: write your own part. It is the only way I've gotten anywhere. It is much harder work, but sometimes you ave to take destiny into your own hands.
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writing
inspiration
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Mindy Kaling |
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One of the many things I have always loved about writing, not to be confused with publishing, is that all you need is your imagination. It doesn't matter who you are, you can write. Your looks, especially, don't matter.
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writing
imagination
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Roxane Gay |
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Write your own part. It's the only way I've ever gotten anywhere. It is much harder work, but sometimes you have to take destiny into your own hands. It is much harder work, but sometimes you have to take destiny into your own hands. It forces you to think about what your strengths really are, and once you find them, you can showcase them, and nobody can stop you.
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women
writing
writing-process
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Mindy Kaling |
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Fiction is like wrestling with angels-you do not expect to win, but you do expect to come away from the experience changed.
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reading
fiction
writing
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Jane Yolen |
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As a naturally shy person, I loved the anonymity of writing before my career took off. I loved how my stories didn't care about my weight. When I started publishing that writing, I loved that, to my readers, what mattered were the words on the page. Through writing, I was, finally, able to gain respect for the content of my character.
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writing-life
writing
feminist
writing-quotes
writing-craft
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Roxane Gay |
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"You can write great books," the great man continued. "Or you can have kids. It's up to you." [...] Writing was a practice. The more you wrote, the better a writer you became, and the more books you produced. Excellence plus productivity, that was the formula for sustained success, and time was the coefficient of both. Children, the great man said, were notorious thieves of time. [...] Writers need to be irresponsible, ultimately, to everything but the writing, free of commitments to everything but the daily word count. Children, by contrast, needed stability, consistency, routine, and above all, commitment. In short, he was saying, children are the opposite of writing."
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writing-life
writing
parenting
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Michael Chabon |
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Writing, I am convinced, is the least appreciated of all the creative arts. Only a miniscule portion of the population engages in sculpting or painting or composing but everyone writes - whether it be letters, invitations, shopping lists...It is not far-fetched, therefore, for anyone with a smattering of self-esteem to believe that if he or she had the time, and the desire, an acceptable book or article could be produced.
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writing
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Og Mandino |
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It is widely rumored, and also true, that I wrote my first novel in a closet.
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writing
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Barbara Kingsolver |