Writing Quotes - Page 629

Not without design does God write the music of our lives.

Not without design does God write the music of our lives. Be it ours to learn the time, and not be discouraged at the rests. If we say sadly to ourselves, "There is no music in a rest," let us not forget " there is the making of music in it." The making of music is often a slow and painful process in this life. How patiently God works to teach us! How long He waits for us to learn the lesson!

That was actually Lloyd Phillips who was a Kiwi film producer in L.A. And it was about Gorgeous George, not Haystacks Calhoun. I was in a couple of Lloyd's films and got approached to write the story. People don't realize it, but Gorgeous George had this flamboyant, camp stage persona that had a tremendous influence on other celebrities, like Elton John, Liberace, Elvis Presley, and Mohammed Ali, who all wanted to establish their own outlandish stage personas. The project died because Gorgeous George's wife refused to give up the rights.

Ways to be actively involved in the solution: 1. Consider adoption. 2. Be a regular giver of your money to Crisis Pregnancy Centers. 3. Volunteer in a Crisis Pregnancy Center. 4. Be involved in spreading truth with good literature. 5. Make your presence know at the abortion clinics in town (by) writing or phoning or visiting and talking, if you can, with those who work there. 6. Dream a new kind of ministry. 7. Pray!

If you put someone in a room with no script to direct, they're just going to sit there. Writing scripts is the execution for a show. Then the director takes that and hires people. It's like trying to build a house without any bricks.

When you're writing for theater or TV, it's open-ended in scope. You can write 10 separate pieces that are really effective but have no place on a rock record or whatever.

If you have one strong idea, you can't help repeating it and embroidering it. Sometimes I think that authors should write one novel and then be put in a gas chamber.

It is desperately important to remember when enough is enough, when you've finished the scene.

The drama, like the symphony, does not teach or prove anything.

Famed value investor Guy Spier has managed to write what is both a gripping memoir and a fascinating study of what it takes to succeed in investing and life. A must read!

I like Quentin Tarantino, especially the early films, but I'm a big fan of Billy Wilder and Preston Sturges... you know, people were writing great dialogue back then. It's as if people only have the memory of the last 15 years. So, before Tarantino no one was writing witty dialogue? That's ridiculous. Why do we have to keep referring to Tarantino?

I want to sell to people my own age, because that's the way I write songs.

People try to apply directly results from the cognitive neurosciences directly to classroom practice and I have to tell you I am very skeptical about the exercise. We don't know very much about how the brain works - we don't even know how you remember to write your name.

I think technique can be taught but I think the only way to learn to write is to read, and I see writing and reading as completely related. One almost couldn't exist without the other.

The tweets are getting shorter, but the songs are still 4 minutes long. You're coming up with 140-character zingers, and the song is still 4 minutes long…I realized about a year ago that I couldn't have a complete thought anymore. And I was a tweetaholic. I had four million twitter followers, and I was always writing on it. And I stopped using twitter as an outlet and I started using twitter as the instrument to riff on, and it started to make my mind smaller and smaller and smaller. And I couldn't write a song.

With writing music, as a general rule I'm looking for something that surprises me, that doesn't fall within what's easy for me.

I love pop music. It's not easy to write a good pop song. It may be easier to put out a fake jazz album, as Sting does from time to time.

And Paul hits this chord, and I turn to him and say, 'That's it! Do that again!' In those days we really used to absolutely write like that - both playing into each other's noses.

Novelists are not equipped to make a movie, in my opinion. They make their own movie when they write: they're casting, they're dressing the scene, they're working out where the energy of the scene is coming from and they're also relying tremendously on the creative imagination of the reader.

I happen to write by hand. I don't even type.

It's a principle of mine to come into the story as late as possible, and to tell it as fast as you can.

When it's going well [writing] goes terribly fast. It isn't at all surprising to write a chapter in a day, which for me is about twenty-two pages. When it's going badly, it isn't really going badly; it's just the beginning.

It's part of a writer's profession, as it's part of a spy's profession, to prey on the community to which he's attached, to take away information - often in secret - and to translate that into intelligence for his masters, whether it's his readership or his spy masters. And I think that both professions are perhaps rather lonely.

I've always preferred writing in longhand. I've always written first drafts in longhand.

I write very quickly; I rewrite very slowly. It takes me nearly as long to rewrite a book as it does to get the first draft.