Writing Quotes - Page 789

I really like writing from real-life experiences. Audiences seem to prefer the stuff I couldn't have made up.

No one can write a best-seller by taking thought. The slightest touch of insincerity blurs its appeal. The writer who keeps his tongue in his cheek, who knows that he is writing for fools and that, therefore, he had better write like a fool, makes a respectable living out of serials and novelettes; but he will never make the vast, the blaring, half a million success. That comes of blended sincerity and vitality.

Babbitt as a book was planless; its end arrived apparently because its author had come to the end of the writing-pad, or rather, one might suspect from its length, to the end of all writing-pads then on the market.

My memory is certainly in my hands. I can remember things only if I have a pencil and I can write with it and I can play with it. ... I think your hand concentrates for you. I don't know why it should be so.

It is a great pity that every human being does not, at an early stage of his life, have to write a historical work. He would then realize that the human race is in quite a jam about truth.

Writers on the subject of August Strindberg have hitherto omitted to mention that he could not write. ... Strindberg, who was neither a good nor a wise man, had a stroke of luck. He went mad. He lost the power of inhibition. Everything down to the pettiest suspicion that the dog had been given the leanest mutton chop, poured out of his lips. Men of his weakness and sensuality are usually, from their sheer brutishness, unable to express themselves. But Strindberg was mad and articulate. That is what makes him immortal.

It would be no loss to the world if most of the writers now writing had been strangled at birth.

I swear I could write a book about all the things no one has ever thanked me for.

But who has time to write memoirs? I’m still living my memoirs.

I come to writing from hearing great stories as a child in Louisiana, where the mark of a person was his or her ability to be a raconteur. I also come to writing as a professional actress whose body has been trained to listen and smell and inhabit characters without judgment.

I think that's why I wanted to write about seventh grade. I'd say seventh grade is a time when kids are really exploring a lot and becoming aware of the world around them in a deeper way. And they just have sort of have a wider appreciation of what's happening around them. They are seeing themselves from the outside more than they had before.

I never write with any kind of message, and I don't think that this book, 'Goodbye, Stranger' has a message in the capital M form of the word but I do hope it makes people ask themselves questions about what they think.

I'm very involved on a lot of levels in making of this album," "I wrote on 11 of the 12 tracks which is, creatively, really important to me. I want to be singing my music passionately and when I'm writing from a place where God has been teaching me something new-when I write from that place-it comes across when I'm singing. That's vital to the message and the reality of God that I want to impart with my music.

I've been gratified to see over the twenty or so years of my writing life the West become less of a colony of the East; maybe new technologies and too much travel undermine the idea of provinciality.

Good science is all about following the data as it shows up and letting yourself be proven wrong, and letting everything change while you're working on it - and I think writing is the same way.

Writing is still a bit of a miracle - the whole process: I see the world, filter the world, write down abstract squiggles on a page which somebody is then able to connect with. I'm still amazed by it and think I always will be.

Writing is acting in the sense that you're imagining and inhabiting another. In the book I was trying to get at the root of what true acting is.

I would have started writing a lot earlier if I hadn't been [Arthur Miller's daughter].

One of the things that's good for me is that I can go from one art form to another. Because I think if I had to write another novel now I would really not be good in my head anymore. It's too much. The frustration is so intense of knowing that this structure is right around the corner. Writing is a particular kind of frustration.

I'm really interested in the minutiae of different tones and what that explains - how people's backgrounds are reflected in minute details of how they interact. It's true that I'm hypersensitive to all that. Writing is acting in the sense that you're imagining and inhabiting another. In the book I was trying to get at the root of what true acting is.

Writing is a particular kind of frustration, which is why when I was making the structure for the novel I visualized it for myself with a color-coded board so I could see it.

I had a lot of great lakes of ignorance that I was up against, I would write what I knew in almost like islands that were rising up out of the oceans. Then I would take time off and read, sometimes for months, then I would write more of what I knew, and saw what I could see, as much as the story as I could see. And then at a certain point I had to write out what I thought was the plot because it was so hard to keep it all together in my head. And then I started to write in a more linear way.

I try not to cover Sudan from afar. I feel really uncomfortable writing about Sudan when I'm not there. It always looks different. When you're outside Sudan it's easy to lose sight of how much of what happens is driven by local politics. And when you're in America in particular, there's this sense that what D.C. has to say is the only thing that counts. Unsurprisingly people in Sudan don't feel the same way.

I feel really uncomfortable writing about Sudan when I'm not there. It always looks different. When you're outside Sudan it's easy to lose sight of how much of what happens is driven by local politics. And when you're in America in particular, there's this sense that what D.C. has to say is the only thing that counts.

I don't think I can write the story of my life, but I can write the story of my hair.