Writing Quotes
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'Alien' asked ground-breaking questions about eco-politics and female empowerment. 'The Matrix' delved deeper into the concept of perception versus reality than perhaps any other film I know. But for some reason, we tend not to remember the significance of their writing.
Rian Johnson's 'Looper' is inventive, entertaining, and thought-provoking in every way a movie can be. It is in fact the kind of movie that reminds us why we watch them and make them, a beautifully told story that deserves to be not only remembered, but acknowledged for its writing.
Writing is like any other sort of sport. In order for you to get better at it, you have to exercise the muscle.
Stephen King's 'On Writing' is probably the most useful writing book I've ever read.
I went to school for creative writing in college, and I wound up about six hours short of my degree.
I did a lot of freelance desk publishing jobs when I graduated from college. I sort of earned a living doing that while I was writing plays, which was what I wanted to do. My hope was to become a playwright.
I occasionally play works by contemporary composers and for two reasons. First to discourage the composer from writing any more and secondly to remind myself how much I appreciate Beethoven.
'Scalped' No. 1 was only the third comic script I'd ever written. I really learned a lot about writing on the fly with that series.
What does it mean to not be alone? I've approached that question through music, technology, writing and other means.
Writing songs is really about writing. It's not about necessarily focusing on one particular style or making it one particular thing.
Ambiguity is very interesting in writing; it's not very interesting in science.
All of my writing career is about how human beings negotiate dark matter.
Writing a graphic novel is hard. It feels closer to a screen play than to a novel.
When I started writing, it felt good, and I knew I was in the right genre.
I use my fiction to explore my own unconscious issues. I usually don't even know what's going on with me until I'm writing. That doesn't mean my books are autobiographical.
I tried writing fiction as a little kid, but had a teacher humiliate me, so didn't write again until I was a senior in college.
My house is modern, but I like my writing room to be old fashioned. I write on a little wooden secretary desk.
Writing a novel is not merely going on a shopping expedition across the border to an unreal land: it is hours and years spent in the factories, the streets, the cathedrals of the imagination.
Although psychoanalysis has influenced me personally, it has had curiously little influence on my writing. This may be because writers learn from other writers, not from theories.
As an observer, I'm analysing my reactions, I guess, and my thinking; but about the process of writing... I am not very talented at talking about what I do as a writer.
I wrote the Dickens book because I loved Dickens, not because I felt a kinship with him, but after writing the book it seemed to me that there was at least one similarity between us and that was that Dickens loved to write and wrote with the ease and conviction of breathing. Me, too.
Write every day. You don't have to write about anything specific, but you should exercise your writing muscle constantly.
Don't let anyone discourage you from writing. If you become a professional writer, there are plenty of editors, reviewers, critics, and book buyers to do that.
When a writer is already stretching the bounds of reality by writing within a science fiction or fantasy setting, that writer must realize that excessive coincidence makes the fictional reality the writer is creating less 'real.'
My feeling is that writing Fantasy should be harder - not easier - than writing any other kind of fiction.
There are other types of public appearances a writer does in addition to book signings and readings. Each calls for different skills. None of these skills, needless to say, are those that go into writing books.
I have acting technique; I have singing technique; I don't have a writing technique to fall back on.
By the time I joined the 'Washington Post' sports staff in 1979, Red's Runyonesque notion of sports writing was obsolete.
I never show my books to Ricky. His writing is very different, and anyway, he's only read one novel in his life: 'The Catcher in the Rye.'
While writing a novel, I don't read anything new in fiction. I am too engrossed.
If you're writing a novel, you can afford to see where the spirit takes you, but in terms of structure and engineering with a screenplay, you have to be quite pragmatic; otherwise, it will run away from you.
Writing is a muscle that needs to be exercised every day: The more you write, the easier it becomes.
I don't listen to anything when I'm writing. I need total quiet, which is astounding, given that I spent years working for a newspaper and having to write features surrounded by ringing phones and people shouting.
I grew up with older brothers, adore them, can't imagine going through life without them, and I definitely think I draw on that love when I'm writing about siblings. It's so powerful, the jump-in-front-of-a-train-to-protect-them kind of love.
I have a hard time writing, and I usually have to put a timer at my desk and put it on for an hour. But I love to illustrate, and I can hardly stop myself.
Arizona, our beautiful state, was built on mining. Copper is huge here, and now uranium. And then we have the federal government coming in, writing all these rules and regulations and telling us that we can't do this and we can't do that. We need concise, clear answers.
My first novel is loaded with food references largely because my cupboards were bare, and I was writing hungry.
Advertising isn't just the disruption of aesthetics, the insults to your intelligence and the interruption of your train of thought. At every company that sells ads, a significant portion of their engineering team spends their day tuning data mining, writing better code to collect all your personal data.
That has been my outlet and a way to provide for my child - writing songs for myself and for other artists.
I know I'm only as good as the material I've got to work with. I'm not an alchemist, not when it comes to writing or production.
When I started writing poetry, it was always in very hip-hop influenced spaces: Someone would teach a Nas song side-by-side with a Gwendolyn Brooks poem, and we'd talk about the connections between those things.
Privacy has become the most precious thing. Things have got more cryptic in my writing.
Generally, my life is absolute chaos, but when I'm writing songs, it's very thought out and regimented.
I was in a band at school, and almost from the day we started, I started writing songs, just because that seemed what you did.
I've gone periods of maybe four months without writing anything, but it's not a problem. It just means something's building inside you, and it'll build and it'll build, and at some point it'll come out, and it does, and it usually comes out in three or four songs, and you play it that way, really.
Because I was writing verse, my instructor suggested I study Shakespeare. The Shakespeare teacher insisted you couldn't understand the text without seeing it on its feet.
I think when you first start out, you're writing books that are about your immediate place.
I feel a bigger sense of fulfillment when writing a novel, and short stories are more about instant gratification.
I do play the guitar, but I do it for fun. And I am terrible at writing music as well. I have tried and failed, horribly.
As an actor, you're tied to the writing. You live and die by what's written for you. And you can elevate that to a certain extent, but really, that's your blueprint.
I've done well because I'm lucky and I'm willing to be collaborative with the one thing you don't want to be collaborative with: your writing.
It is always pleasant to learn that someone takes an interest in a work which one enjoyed writing.
Generally, if you preface an interview request with, 'I'm an author writing a book,' for some reason, that seems to open a lot of doors.
I do have an office where about 70 percent of my writing gets done, but sometimes it does get a bit stir-crazy to be cooped up in there, so I'll grab my laptop and write somewhere else: another room in the house, out on the patio, or even Heaven-forbid, a trip to Starbucks. But I also write on the road.
I'm pretty disciplined to keep the momentum of a story going by writing everyday, even if it's only a couple paragraphs or a page or two.
I write in longhand. I am accustomed to that proximity, that feel of writing. Then I sit down and type.
I wasted time writing films. I don't look back on those years as lost, but it wasn't what I should have been doing.
The writing workshops and programs that are everywhere have encouraged writing. And if that produces more writing, it's also producing more readers of an elevated level. So all in all, a good thing.
There comes a time when you realize that everything is a dream, and only those things preserved in writing have any possibility of being real.
One would think that in writing about literary men and matters there would be no difficulty in finding a title for one's essay, or that any embarrassment which might arise would be from excess of material. I find this, however, far from being the case.
I've always sort of felt like what the Shins is, I guess, is a vehicle for my writing.
They change. They're different. There are no two alike, that's the miracle of it. But if they have something to teach the students. You can see them writing during the show.
As was the case in 'Darth Plagueis' - even going back as far as 'Cloak of Deception' - I was well aware that I was writing what used to be called 'men's adventure' fiction.
I always loved writing, but never considered that I could do it professionally.
In television writing, even if you're running the writers room, it's a writers room.
Writing in English is the most ingenious torture ever devised for sins committed in previous lives. The English reading public explains the reason why.
I think very abstractly when I'm writing. Then, as the project moves on, it becomes more like sculpting.
I don't use a computer in writing at all. I'm sort of old-fashioned about it.
I think it was the fact that I liked it so much that made the writing just come out of me automatically.
I've never had any interest at all in being a journalist or writing some sort of historically accurate autobiography.
When I started writing 'A Million Little Pieces,' I felt like it was the right story with the style I had been looking for, and I just kept going.
Most developer tools try to shield you from actually writing code in constructing the GUI bits or the database bits. Yet when you do write code you usually get glass teletypes where high tech is keyword coloring.
I have no interest whatsoever in pursuing acting or becoming a mogul. I love writing and directing; I see those two jobs as the most critical in the making of a film.
I am a writer. I could not afford to take 15 months off from my writing career to play detective.
In my opinion, it is easier to avoid iambic rhythms, when writing in syllabics, if you create a line or pattern of lines using odd numbers of syllables.
Writing for the page is only one form of writing for the eye. Wherever solemn inscriptions are put up in public places, there is a sense that the site and the occasion demand a form of writing which goes beyond plain informative prose. Each word is so valued that the letters forming it are seen as objects of solemn beauty.
I prefer writing in the mornings, so to that extent I have a routine. I do reading and other things in the afternoon.
I acted professionally for about eight years, and I was writing all that time but never showed anybody any of it. There just came a point after those eight years when I thought, 'There's a lot I can do with acting - there are a lot of things I can express and do creatively, but there are also limitations.'
In my early writing, all of my characters were exactly the same person. They all spoke the same, made the same types of jokes, reacted the same, etc. I think they were all just me in disguise.
The first is that instead of writing a sequel, which is what most people do, this is in fact a prequel. Although we didn't know that when we began the process.
No author's writing more influenced my own than that of Robert Louis Stevenson. My first steampunk story, 'The Ape-box Affair,' is a sort of melange of Stevenson and P.G. Wodehouse.
I consider my films to be poems that are all as personal as my writing and as hand-made.
Writing is such a singular and lonely occupation. And it's interesting; all of the work that you create is so singular.
I love writing. I love the swirl and swing of words as they tangle with human emotions.
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