Writing Quotes - Page 1048

[Writing] is almost like those boats that sit really low in the water; they look kind of ugly. And then you get one of them up to 80 miles an hour and the hull comes up, and it's a beautiful thing. I'm okay with that for myself.

[In the moment of reading writer and reader] are both briefly their best selves, or at least better selves. A flawed human being writes something and 60 years later a reader picks up the book and something in them rises to meet it.

As a young kid I assumed that everybody was sort of on the same wavelength as I was and then I found out in a lot of small ways that that wasn't the case. It's sort of a mixed blessing. My mind is like a puppy. It goes all over. I guess writing fiction was a way of harnessing that. I could hook a puppy up to a treadmill and get something out of it.

If you understand writing as primarily engaging an imaginary reader, well, you've kind of been doing that your whole life. You walk into a room and you're engaging with imaginary strangers because you don't actually know who they are. For me, it was really empowering to say: this is a branch of entertainment and communication and engagement, as opposed to jumping over some perceived literary high bar. That was the buzzkill.

I think that's one of the maybe under-discussed aspects of process - the difference between a good writing day and a bad one is the quality of the split-second decisions you made.

The chances of a person breaking through their own habits and sloth and limited mind to actually write something that gets out there and matters to people are slim.

I came to writing kind of late. I was an engineer, and the one thing I've learned is that you have to steer a project in the direction of the maximum fun for you. You could say lively energy, or you have to try to be intrigued. Basically, if you were a musician and you were playing joylessly, nobody would want to hear you.

When I'm not writing, I tend to get depressed and a little bit surly. And then when I'm writing, suddenly I feel enlivened. Now the only thing as I'm getting older that I notice is that it's a pattern.

While I'm doing [writing], I don't feel it.I don't think that's a failing. I think it's just a feature. Like, a feature of oneself.

Even if something within me is ugly, writing is a pretty good place to play with that thing and to begin to really see it.

There are things that are shadow sides of the creative energy that are negative and all that kind of stuff. The only thing that I say to myself is, in the spirit of that quote from the Gnostic Gospels: Writing is a way to let all that stuff out into the sun.

I love story-writing because I can (more or less, on occasion) actually DO it. That's really the truth. I like the idea that a story is sort of a site for making cool language effects - a site for celebrating language, and, therefore, the world. And the brevity is part of the challenge. I like stories because I get them - I know how to make beauty, or something like beauty, in that mode.

I'm always nice when I do drugs. But, you know, I'm nicer on the drug called "writing."

We do not precisely enjoy liberty at the Figaro. M. de Latouche, our worthy director (ah! you should know the fellow), is always hanging over us, cutting, pruning, right or wrong, imposing upon us his whims, his aberrations, his fancies, and we have to write as he bids.

Writing a journal means that facing your ocean you are afraid to swim across it, so you attempt to drink it drop by drop.

Nothing is so easy as to deceive one’s self when one does not lack wit and is familiar with all the niceties of language. Language is a prostitute queen who descends and rises to all roles. Disguises herself, arrays herself in fine apparel, hides her head and effaces herself; an advocate who has an answer for everything, who has always foreseen everything, and who assumes a thousand forms in order to be right. The most honorable of men is he who thinks best and acts best, but the most powerful is he who is best able to talk and write

We shall not busy ourselves with what men ought to have admired, what they ought to have written, what they ought to have thought, but with what they did think, write, admire.

There are a number of things that I'm trying to get into the books. There's a meta-fictional aspect, if I may use that pretentious word, to writing anything. You're writing in the shadow of all the people that have gone before and, in a way, you're having a dialogue with them. As someone who's read J.R. Tolkien and Robert E. Howard and all the great fantasists before, this is almost my answer to them.

There are a lot of people out there who will write books, in which everything turns out nicely and the bad guys lose, the good guys win, the boy gets the girl and they live happily ever after. There's a million books like that and if that's the comfort you're looking for, you should read those books and not my books because that's not the kind of book that I am interested in.

I think my very earliest stories were all intellectual exercises and I was writing from experiences I had never had about characters who were about an inch deep.

One of the big breakthroughs, I think for me, was reading Robert A. Heinlein's four rules of writing, one of which was, 'You must finish what you write.' I never had any problem with the first one, 'You must write' - I was writing since I was a kid. But I never finished what writing.

When I am writing best, I really am lost in my world. I lose track of the outside world. I have a difficult time balancing between my real world and the artificial world.

You always try to do your own thing. One of the things I wanted to do was to write a book that combines some of the best traits of contemporary fantasy with some of the traits of the historical novel.

I've always preferred writing about grey characters and human characters. Whether they are giants or elves or dwarves, or whatever they are, they're still human, and the human heart is still in conflict with the self.

'Dreamsongs' allows me to show the scope of my writing - with personal commentary that puts the works in context and includes some autobiographical details intended to reveal how each piece came to be, what it represents, and how it has formed, or been informed by, my philosophy of writing.