Writing Quotes
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When I first began to write, I was writing on bass, because I was thinking more Public Image, more dub.
If you are writing a thriller with violence in it, the ending must be violent. You are delivering a promise to your reader.
If the project has good writing and is something I get excited about, then I'll do the role. And if it's for TV, I'll ask myself, 'Is it a show that I'd watch?' If it's a play or movie, I'll want to know if there's a good director attached.
There's nothing quite like a quiet corner in a coffee shop to gather your thoughts and begin writing.
I try to be a friend to my boys just the way my dad was with me. Subconsciously that reflects in my writing.
I am writing something which I find satisfying and which I am prepared to put my name to as a composer.
I remember once, when I started writing for the alto saxophone, a saxophonist told me to think of it as being like a cross between an oboe and a viola, but louder.
The thing that I'm most passionate about, I'm writing a book called 'Jab Jab Jab Jab Jab Right Hook,' and it really focuses on how to story-tell in a noisy, ADD world.
Years ago, when I was writing westerns, other writers who were friends of mine wanted me to collaborate with them. And it just didn't work.
There's something so wonderful about writing in rhyme where it isn't just the meaning of the words, it's the music to the words and the shape and the sound.
I got a job as an assistant film editor, which lasted for a few years, but I found writing incredibly difficult, and I thought, 'How am I going to make a film if I can't write?' I didn't really comprehend that someone else would do that bit.
Let's start at the very end: The postscript of Stephen King's 'On Writing' contains some of the most harrowing pages he has ever written. It's here that King describes the traffic accident that nearly killed him in June 1999.
Writing for children, you do bear a responsibility to not include overt or graphic adult content that they are not ready for and don't need, or to address adult concepts or themes from an oblique angle or a child's limited viewpoint, with appropriate context, without being graphic or distressing.
There is a very big difference between writing for children and writing for young adults. The first thing I would say is that 'Young Adult' does not mean 'Older Children', it really does mean young but adult, and the category should be seen as a subset of adult literature, not of children's books.
I studied writing at university, and I actually majored in screenwriting. Then I went to work as a bookseller and then as a sales rep and publicist and then various editorial jobs until I ended up with HarperCollins in Australia.
I was working my first adult job, a quasi journalistic job, writing content for a website. In the offices, we had banks of TVs, papers, a constant media stream, which was unusual for 2001.
The ego being shattered is not what frightens me - that can be useful for writing - but the ego being inflated is sort of like it dying of gout.
I fantasised about F. Scott Fitzgerald's 'The Great Gatsby' - I loved it, and then I read everything J. D. Salinger had to offer. Then I was turned on to Kerouac, and his spontaneous prose, his stream of consciousness way of writing. I admired him so much, and I romanticised so much about the '40s and '50s.
To be a writer, you must be a reader, yet as many as 30 per cent of my writing students were not readers.
The English playwrights of the '50s and '60s didn't really keep writing or getting produced, while the Irish did. There's encouragement for the younger ones also in the fact that Ireland is exceptional in its ability to make theater part of the national dialogue, and it reaches to all four corners of the country.
The reason that I keep writing is that all my most powerful messages about the fates of wild places that I care about need to have words as well as images.
The major newspapers simply stopped writing about me, and my voice could no longer be heard on radio or television.
In the history of literature there are many great enduring works which were not published in the lifetimes of the authors. If the authors had not achieved self-affirmation while writing, how could they have continued to write?
When I lived in China, my works were already being banned, and I couldn't publish. In those days, when I was in China, I was writing for myself, so that's the process of writing for myself that was the most important thing.
At least half my writing time is spent researching. So for every hour I'm actually clicking on the keyboard, I'm spending another hour trying to figure out some tiny detail I need answered.
I always say, if a guy writes the same lead female character type over and over, we are not seeing their writing chops so much as their dating website wishlist.
During the day, if I don't have any other commitments, I'm usually at my desk writing, revising, or researching anywhere from four to six hours.
When I was around eight, I learned how to touch-type at school, and I received a computer as a present. I started writing plays, and for many years I thought I would be a playwright.
I knew I wanted to do something creative, and you don't necessarily go to Harvard to do that. It's not the best choice for creative writing.
When I first started writing, I used to listen to music all the time because it would make time pass more quickly. And then I started to wonder if the music wasn't affecting my writing in ways that I didn't necessarily intend.
I went to school to study literature and writing, even though I didn't end up really doing that in the end.
I would write down the lyrics to 'C.R.E.A.M.' in Korean - not translating it, but phonetically writing out each word. I didn't know what they were saying, so I would just write everything down as I heard it. I would recite it and imitate it like that. That's how I started to write my own raps.
I'm writing in English; I'm writing for a Western audience, but the people I'm surrounded by in my daily life are mostly non-white.
Anytime you're writing stories about a group of people with whom you have limited experience, there's a lot of guesswork.
To me, writing an ongoing series feels like driving a freight train downhill. All you can do is steer and pray.
I don't read blogs. I'm living the life they're writing about. So why read about it?
I've been writing since I was 11. But I don't write with a pen, I just sing at the piano with one eye shut like a pirate.
When I first started writing songs, I was almost quite embarrassed that I couldn't read music and I still to this day don't really know what chords I'm playing, I don't know the name of them.
At school I was really heavily dyslexic, so I really struggled academically with reading and writing.
I started out as a writer of fiction, but nobody wanted to publish my work as a young man. So I decided to put my interest in the narrative writing of biographies.
I first wrote a biography of Thomas Carlyle, and it turned out I loved writing biographies and had a talent for it. I believed I had a contribution to make.
At this stage, my chief professional goal is simply to keep on writing and making a living at it.
I suspect that writer's block afflicts mainly people who have some stable and ample source of income outside of writing. So far it hasn't been a problem.
We've always shared everything - writing credits, all the royalties - and there's no real leader because if there was one, we'd immediately depose them.
One of the things I particularly enjoyed doing was taking raw sound from locations during the film, like the candy machine, and writing pieces of music to go with them, which is totally unnecessary within the context of the film, because they have their own logic.
I think that I'm definitely going to keep writing music forever. I can't stop even if I tried.
I kind of like the idea of creating my own literature within my albums. I definitely thought about that when I started writing songs.
If I had to pick an artist that I look up to and am inspired by, it's Matisse because of how many times he would paint the same idea until he felt like he maybe got it right, and I try to do the same thing with my writing.
When you are writing for the Christian culture, there is a whole gamut of expectations.
When I first started out writing the 'Darkness' books, there was, at least in my mind, a certain sort of rulebook we had to follow.
I just have to proceed as usual. No matter what happens, nothing helps with the writing of the next book.
I loved reading and writing, and teaching was the most exalted profession I could imagine.
You do Batman right, and he's going to be popular. He's a great character. I was once asked by somebody if writing 'Batman' was like holding a Ming vase or something. And I said, 'No, it's like holding a big-ass diamond that you can't break. You can throw him against the ceiling, against the floor, anywhere, and you just can't break Batman.'
As an arts journalist in London, working mainly for the BBC, I interviewed hundreds if not thousands of authors. From them I gleaned a great deal of passing instruction in writing and I observed one fascinating detail: no two writers approach their work - physically - in the same way.
Anytime you put yourself in a creative box, it's going to stifle you; it's not conducive to the writing or recording process.
For some artists the live performance is the chicken before the egg of writing or recording of repertoire. For other artists the writing or recording of repertoire is the chicken before the egg of live performance.
I had thought of writing, actually, and that later on I'd be a novelist.
I started writing and photographing for different publications and finally ended up being the correspondent in South Asia, for the Geneva-based Journal de Geneve, which at one time used to be one of the best international newspapers in Europe.
It's always struck me as unfair that writing has so little sensation when it's going well.
What's important about me is that I really have, in ways I never could have foreseen when I was young, a writing career that's reached a lot of different places.
Since I was a small child, I was always writing either poems or plays... plays in which I had the starring part.
If things are going well I can easily spend twelve hours a day writing, but not writing writing, just thinking and revising and taking a comma out and putting it back in.
Like everyone else, there are days when I don't want to go to work. However, writing is a job like anything else.
I actually worked in the general market for many years writing steamy historical romance, and I had more freedom in the Christian market than I ever did in the general market to write about any issue that I needed to write about.
My favorite book is 'Redeeming Love.' It was my first as a born-again Christian, my statement of faith, and the most exciting year I've spent writing anything.
Reading maketh a full man; conference a ready man; and writing an exact man.
Writing is literally transformative. When we read, we are changed. When we write, we are changed. It's neurological. To me, this is a kind of magic.
I'm a writer who simply can't know what I'm writing about until the writing lets me discover it. In a sense, my writing process embraces the gapped nature of my memory process, leaping across spaces that represent all I've lost and establishing fresh patterns within all that remains.
It was a difficult second record. I had moments where I couldn't write; had moments where I was writing lots. It was just a massive learning process for me.
Once I'm in a situation where I can not do anything for three years and go off the map, I'll focus more on writing. Right now, I want to just make Flume awesome... and big.
I want to be creative in as many different environments as possible, whether it's doing film scores, writing for TV ads or video games - all sorts of stuff, as long as it requires writing music.
I'm not the hands-on guy. I like writing the check, and I turn it over to the guys that make it happen, much like the way I ran my business.
Women's writing was coming along fine until feminists came along and turned it into Women's Lit.
Well, I just wanted to be a person. I just wanted them to keep writing me as humanistic as possible.
I had the idea to spend the year off in 2008 and start writing a rock album. I wanted to do something else other than melodic metal after more than ten years of After Forever. I thought it would be nice to sidestep into rock.
I'm very happy with what I can bring into Nightwish, but I will probably want to keep on writing things. And that can take many forms as well.
Many are ready, when listening to the inventor, to belittle and deny his achievements so that he will no longer be heard in honourable places, but after some months or a year, they use the inventor's words in speech or writing or design.
Writing is something I've always done on the side. I thought that no one would be interested, so I kept it to myself.
The things I want to focus on are music, writing, directing, and developing stuff.
When you start writing fiction, you have to learn to invent, and it's very hard at the beginning to stop relying on facts and what you've heard.
I don't see myself as an artist, as a writer. The sort of writing that I do, which is popular fiction, it's work. I have contracts to fulfil, and I have deadlines to meet.
I don't read books regularly, because I'm always writing them. I've written 30 books, thousands of pages.
When you're writing, you're in a totally different zone... I can start a difficult poem and look up at the clock and see to my astonishment that three hours have passed.
It's true that I'm taking a break from writing a regular column to do other things but it's got nothing to do with what dear Simon has or has not written.
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