Writing Quotes - Page 526

All writing is difficult. The most you can hope for is a day when it goes reasonably easily. Plumbers don't get plumber's block, and doctors don't get doctor's block; why should writers be the only profession that gives a special name to the difficulty of working, and then expects sympathy for it?

If you want to write anything that works, you have to go with the grain of your talent, not against it. If your talent is inert and sullen in the face of business or politics...but takes fire at the thought of ghosts and vampires and witches and demons then feed the flames, feed the flames.

This is the value for me of writing books that children read. Children aren't interested in your appalling self-consciousness. They want to know what happens next. They force you to tell a story.

No one can write like Vallejo and not sound like a fraud. He's just too much himself and not you.

I want to write about people I love, and put them into a fictional world spun out of my own mind, not the world we actually have, because the world we actually have does not meet my standards.

The trouble with science fiction is that you can write about everything: time, space, all the future, all the past, all of the universe, any kind of creature imaginable. That's too big. It provides no focus for the artist. An artist needs, in order to function, some narrowing of focus. Usually, in the history of art, the narrower the focus in which the artist is forced to work, the greater the art.

You have to roll up your sleeves and be a stonecutter before you can become a sculptor - command of craft always precedes art: apprentice, journeyman, master.

It was a matter of not seeing the woods for the trees. Glorious songs have been in Ireland forever, but a lot of these were so popular they were sung only by drunken men at weddings. They didn't have any regard for the song at all. So, I picked out 14 songs that I had grown up with, songs with great melodies. After 35 years as a songwriter, I appreciate the value of a good melody because I know how hard it is to write one. So I presented them in a new way, with piano, keyboards, strings, and a contemporary rhythm section. I just treated the melody with a bit of dignity and a bit of style.

I desire that death find me ready and writing, or if it please Christ, praying and intears.

Books, I don't know what you see in them. I can understand a person reading them, but I can't for the life of me see why people have to write them.

Writing has nothing to do with publishing. Nothing. People get totally confused about that. You write because you have to - you write because you can't not write. The rest is show-business. I can't state that too strongly. Just write - worry about the rest of it later, if you worry at all. What matters is what happens to you while you're writing the story, the poem, the play. The rest is show-business.

Writing is a kind of performing art, and I can't sit down to write unless I'm dressed. I don't mean dressed in a suit, but dressed well and comfortably and I have to be shaved and bathed.

If you're hooked on the physical act of writing, there's a good chance of your hanging in there long enough to say what you were born to say.

I try when I'm writing to fill my head and my ears with all sorts of stuff and then let it settle and filter through. At a certain point it seems like fruitless activity because you're taking a lot of time and not seeming to get anything. And then, slowly, you realize you've actually digested elements and that your thinking is being freed up and the way you build up compositions is changed as a result of what you've been listening to.

When a psychiatrist writes a bestseller, he is then urged to write a book of advice. But I think our culture's awash in advice. The problem is we don't know whether it applies to us or whether we're an exception.

Songwriters can’t explain. You get an idea and you don’t know where it’s come from. And if you’re lucky, you have a pencil or pen and can write it down.

The goal is to be both disciplined and loose, so that the writing does not turn into a task or a chore. To leave myself behind, along with the mechanics, and disappear into the lives of my characters.

Well, what we do is we have a script, of course. But for us, writing is also like storyboarding. It's drawing. And so we will cut all of those drawings together with music, sound effects and dialogue. And we screen this kind of stick-figure version of the film.

Every novel generates its own climate, when you get going.

When you're home or you're working, your mind just isn't allowed to just roll on like it does when you're watching the scenery go by. You're hurdling through space but you're not really moving. ...It's that dreaminess, that ability to just get dreamy while you're looking out the window and you see something...and it makes you think of something else, and all of a sudden the words are just flowing out of you.

If you start to revise before you've reached the end, you're likely to begin dawdling with the revisions and putting off the difficult task of writing.

Never, if you can possibly help it, write a novel. It is, in the first place, a thoroughly unsocial act. It makes one obnoxious to one's family and to one's friends. One sits about for many weeks, months, even years, in the worst cases, in a state of stupefaction.

I'd have stopped writing years ago if it were for the money.

It took me 40 years to write my first book.

This grant gave me more than memories; it gave me a crucial experience that is formative to all writers: the ability to perceive that we become writers in exile, where what we write is the only link across distance and time…I became a Maryland writer because the community of Juneau took me in.