Writing Quotes - Page 1036

I wonder if these editors, why they're not writers sometimes, because they know so much about writing.

I tried to write things, but they were so ridiculous and stupid and impossible and I had not a clue what they were, so that delusion went on for a long time. Maybe it's still going on, only somehow I sucked some people in. It was a long time of writing things that didn't make sense in the real world, and I'm embarrassed about them now in a jocular way.

I was writing music when we finished the last Walkmen record, Heaven, and a few of these songs may have even been started before Heaven was done. With The Walkmen we all wrote a lot of stuff alone, but then we'd start collaborating with each other.

I'm always writing music. I sort of do it obsessively, for good or for bad. It's good that it keeps me going, but it's bad because it really is sort of like an obsession where you can't stop sometimes and it'll keep you up at night and ruin your weekend.

I write songs now I look at my strengths and I start there. In The Walkmen, we'd start with the live stuff.

Writing is not hard work, it is simply an obsession.

It is in writing of the emotions that style becomes most individual, in moments of passion, betrayal, of life and death.

I have a little journal that I always keep with me, and when I need to, I'll write poems and things. It really helps to clear my head.

I think my philosophy on music is sort of like the difference between religion and spirituality or religion and faith. There's a lot of bullshit in the music industry. It's really tough to get a leg up and navigate around your gender and stereotypes. You feel hopeless, [but] all of that disappears the minute that I start writing a song. Then I record something and have that magical feeling. You have to have the negative and the positive. Trying to own that and go to that place in yourself creatively is the most important thing.

Writing in a journal each day, with a structured, strategic process allows you to direct your focus to what you did accomplish, what you're grateful for, and what you're committed to doing better tomorrow. Thus, you more deeply enjoy your journey each day, feel good about any forward progress you made, and use a heightened level of clarity to accelerate your results.

Make sure to answer these (3) empowering questions everyday (preferably in writing): Q1-What am I grateful for? Q2-What am I proud of? Q3-What results am I committed to creating today? -> Start now!

I could be inspired by something I see or something I hear and write down or send to a friend or a writer or whether I have instrumental tracks or just a couple chords recorded on my phone. If I have a couple sessions set, I'll go into the studio with the people I'm lucky enough to call my friends because I feel like I can talk to them and then suddenly our conversations turn into these songs you hear on the radio. I still don't understand how it happens but I talk about my experiences and my situations and everything and then they turn into these amazing pop songs.

My reason for writing stories is to give myself the satisfaction of visualising more clearly and detailedly and stably the vague, elusive, fragmentary impressions of wonder, beauty, and adventurous expectancy which are conveyed to me by certain sights (scenic, architectural, atmospheric, etc.), ideas, occurrences, and images encountered in art and literature.

When I say that I can write nothing but weird fiction, I am not trying to exalt that medium but am merely confessing my own weakness. The reason I can't write other kinds is not that I don't value & respect them, but merely that my slender set of endowments does not enable me to extract a compellingly acute personal sense of interest & drama from the natural phenomena of life.

One can't write a weird story of real power without perfect psychological detachment from the human scene, and a magic prism of imagination which suffuses them and style alike with that grotesquerie and disquieting distortion characteristic of morbid vision. Only a cynic can create horror - for behind every masterpiece of the sort must reside a driving daemonic force that despises the human race and its illusions, and longs to pull them to pieces and mock them.

Is it hot in the rolling mill? Are the hours long? Is $15 a day not enough? Then escape is easy. Simply throw up your job, spit on your hands, and write another "Rosenkavailer."

The physical business of writing is unpleasant to me, but the psychic satisfaction of discharging bad ideas in worse English makes me forget it.

To the man with an ear for verbal delicacies- the man who searches painfully for the perfect word, and puts the way of saying a thing above the thing said - there is in writing the constant joy of sudden discovery, of happy accident.

I am never much interested in the effects of what I write....I seldom read with any attention the reviews of my...books. Two times out of three I know something about the reviewer, and in very few cases have I any respect for his judgments. Thus his praise, if he praises me, leaves me unmoved. I can't recall any review that has even influenced me in the slightest. I live in sort of a vacuum, and I suspect that most other writers do, too. It is hard to imagine one of the great ones paying any serious attention to contemporary opinion.

Whenever I write anything that sets up controversy its meaning is distorted almost instantly. Even the editorial writers of newspapers seem to be unable to understand the plainest sentence.

I am, in fact, the complete anti-Messiah, and detest converts almost as much as I detest missionaries. My writings, such as they are, have had only one purpose: to attain for H. L. Mencken that feeling of tension relieved and function achieved which a cow enjoys on giving milk.

The art of writing, like the art of love, runs all the way from a kind of routine hard to distinguish from piling bricks to a kind of frenzy closely related to delirium tremens.

Every reader of the Dreiser novels must cherish astounding specimens--of awkward, platitudinous marginalia, of whole scenes spoiled by bad writing, of phrases as brackish as so many lumps of sodium hyposulphite.

Such is the art of writing as Dreiser understands it and practices it--an endless piling up of minutiae, an almost ferocious tracking down of ions, electrons and molecules, an unshakable determination to tell it all. One is amazed by the mole-like diligence of the man, and no less by his exasperating disregard for the ease of his readers.

The true bureaucrat is a man of really remarkable talents. He writes a kind of English that is unknown elsewhere in the world, and an almost infinite capacity for forming complicated and unworkable rules.