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I would never tell myself, you have to write 20 pages today or something. But I do try to show up. Read what I wrote, fix things.
Sometimes I write about things that never happened to me that wind up happening to me. When you put things out in the universe, sometimes they wind up coming true.
It's more difficult to write a song about having your heart ripped out of your chest while you're in love. Because it lacks honesty. And the honesty comes through in the music, it really does.
I think the hardest part of writing is revising. And by that I mean the following: A novelist has to create the piece of marble and then chip away to find the figure in it.
I write right off the typer. I call it my "machinegun." I hit it hard, usually late at night while drinking wine and listening to classical music on the radio and smoking mangalore ganesh beedies.
Enough of self, that darling luscious theme, O'er which philosophers in raptures dream; Of which with seeming disregard they write Then prizing most when most they seem to slight.
Paintings must be understood through the eyes, and that's not the word either. No writing, no talking, no singing, no dancing will explain them. They are the final, the nth whoopee of sight.
Every promise of Scripture is a writing of God, which may be pleaded before Him with this reasonable request, 'Do as Thou hast said.' The Heavenly Father will not break His Word to His own child.
Fiction is about human beings, first and foremost. (It's not impossible to write fiction with no human protagonists, but it's very hard to keep the reader interested ...)
With fiction, it could be about anything. It just has to be good writing, like Maria Semple's "Where'd You Go, Bernadette," which I read recently. I want to forget I have a book in my hand.
I think human beings exist in a social world. I write realistic fiction, and so it isn't that surprising that the social realities of their existence would be part of the story.
Every book I write, the first thing I have to do is get into the voice, and the voice varies from book to book - that's part of what's interesting to me.
David Mamet was great to work with. He was everything that I thought he would be as a director. He's incredibly articulate, an easy collaborator. Extraordinarily knowledgeable about film and writing.
For this purpose I determined to keep an account of the voyage, and to write down punctually every thing we performed or saw from day to day, as will hereafter appear.
I began writing in the 4th grade. As a matter of fact, I produced a play for the entire school. It was about Leif Ericson and the discovery of America.
I'm very happy by myself - I'm lucky in that way - if I've got enough to read and something to write about and a bit of alcohol for me to add an edge, not to dull it.
Besides the soothing effect it has, I think my favorite part of writing is being able to use my imagination and creativity to make new ideas and people and situations come to life.
If anything I try to write something that would be more difficult to film. I tend to see film as competition and would like instead to do what books do best.
It's often wrong to write for specific actors because one ends up using what is least interesting about them, their mannerisms and habits. I prefer not to write for specific people.
I'm writing a review of three books on feminism and science, and it's about social constructionism. So I would say I'm a social constructionist, whatever that means
Whenever I'm on tour and I'm in my hotel room and I'm writing and playing my guitar, I go in the bathroom and I record whatever I'm writing in there. It's just what I love to do.
The attributes you need to be a travel writer are somewhat contradictory. For travel you need to be tough and resilient and to write you must be sensitive and sympathetic.
I am writing a sequel to The Touch because I want to further explore the Chinese question that I have raised. There will be more about that in a sequel.