Writing Quotes
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I was always kind of florid. And full of rhetoric. That was my flaw. My whole time writing, I've had to work against that because it can be a wrecking posture.
I think if one wants to be in a continual state of insanity one should stay married to that writing partner.
Pat Moynihan could write books with one hand and legislate with the other. I can't; I have a short attention span. The slightest distraction would take me away from writing.
Arendt did have a certain snobbishness, though in some of her writing she expressed more democratic attitudes.
If I had taken a doctoral degree, it would have stifled any writing capacity.
I established my first writing routine when I was 13. The school year had just ended, and I'd won a stack of books for being the best student in a number of subjects. The pile included several 60-leaved notebooks that I decided to fill with short stories.
Writers don't write writing, they write reading. When I was a kid, I read four or five books a week. And that is how I became a writer.
Writing a novel was completely awesome because parts of it could suck and I could throw them away. I didn't have to know the ending until I got there.
My favorite part about writing a song is really when it's released, and I can see that it relates to so many people.
If I'm not writing songs about things I've actually been through, it ruins the idea of making music to me.
I tend to write from a personal place, and most of the time when I'm writing by myself, it's coming from something I've experienced.
I've always been drawn to the real stuff and the stuff that feels authentic. And so when I'm writing songs, that's what I try to do.
When I'm writing, I'm focusing more on just the basic melody and the lyrics.
I don't write particularly to effect social change. I believe writing can do that, but that's not why I write.
Scripts were rather scarce in 1968. We did a lot of Amiri Baraka's plays, the agitprop stuff he was writing. It was at a time when black student organizations were active on the campuses, so we were invited to the colleges around Pittsburgh and Ohio, and even as far away as Jackson, Mississippi.
With so many young playwrights, the true craft of writing for living voices is not what it used to be. They write for attention spans of 10 minutes between adverts.
The things that converge in the writing of a play come from a complex of motives, a genesis shrouded in a certain kind of mystery.
George Orwell is a pinnacle writer, for his combination of moral insight and literary writing.
Writing was my route to creative expression, and I needed to write about the things that interested me.
After writing each novel, I would spend days poring over suggestions from my editor.
Our country has the oldest tradition of storytelling, and this was much before writing stories even became a norm.
I was a businessman for 16 years of my life, so when I started writing, I wanted to keep my literary identity separate.
My greatest qualification for writing fiction was my ability to lie with a straight face as a child.
I had no idea when I moved to Nashville people just were songwriters. I had no idea. So I guess I was selling myself as a singer when I first moved here. But then right after I first moved, I started writing a lot.
During all of my writing career - this includes when I was writing plays and my other screenplays - I don't recall ever writing a negative character, which does not mean that my characters aren't flawed or do not make mistakes. In actual fact, they all are quite flawed.
The process of writing is like creating a game of dominoes: The first domino creates the second incident, and so forth until the end.
As with all types of writing, fantastical fiction depends on the same basic rules.
Occasionally I find a travel book that is both illuminating and entertaining, where vivid writing and research replace self-indulgence and sloppy prose.
When I began writing that I was able and did travel and met some fascinating people and also uncovered some history, which has not been discovered before.
I don't put myself into the category of 'rock star writing his biography.' That's because we live our lives by falling into experiences. Things happen to us. Something you do takes hold of you, and then you do a lot of it.
I'm a 50-year-old guy making music for over 20 years. I've been writing songs since I was 20, so it's really been 30 years, and it's always been personal, but I've always told stories.
I've included these little jokes and mysteries in my writing for the amusement of readers.
I've been working on my own music. I've been writing an album, stuff that's kind of personal to my own life.
My best writing is not outside of the beat. I'm 99 percent influenced by the beat first, and then the words just flow.
I grew up writing songs in my room on GarageBand, and I would make the beats just out of layering my vocals over and over again. Very Imogen Heap-inspired.
When I'm painting and drawing I only do people. Acting is obviously portraiture - and writing is as well.
A blend of fact and fiction has been used in various forms since the dawn of creative writing, starting with sagas and epic poems.
Writing long hand is the last refuge. One needs the time it takes to put pencil to paper and let it run along the ruled line.
My routine is to create activities for myself unrelated to writing that allow little time for writing. This means that when I do get the chance to write, it is like a stolen luxury, something clandestine and almost forbidden.
As a teenager I was obsessed with music and with writing and performing songs.
I work fitfully, in hope rather than in expectation, invent methods which last a week, and fill notebooks with tiny, illegible writing which often defies my own attempts to decipher it.
As somebody who's been writing about this subject for getting on twenty years now, it's astonishing how the climate has changed in the last five years.
Writing about magic is harder than writing about spies because you're dealing with something that doesn't really exist.
I enjoyed writing for someone else's voice, but I wasn't very good at it.
Research is not an obstacle, something to be frightened of. It can be one of the real joys of writing.
I love opera, I love writing for the voice, I love telling stories with music.
I studied history and English in college, got a master's in writing, but I was always sort of an autodidact in science.
Growing up, I loved to play. Writing was a natural outtake of play. I realize now, having kids, that maybe that's unusual. Living out in the middle of nowhere, I entertained myself by writing.
Yeah, I have the detail-obsessed, controlling personality of a novelist, but I somehow ended up writing plays.
Anyone who's read my 'Terror in the Skies' series knows that I have not been writing with an eye toward approval from any government agency.
I also started writing songs because I had this burning activity in my heart and had to express myself.
Romanticizing the act of writing or any other art is not very helpful to the artist or the art. It's much better if one simply does.
The one ironclad rule is that I have to try. I have to walk into my writing room and pick up my pen every weekday morning.
My writing day has grown shorter as I've aged, although it seems to produce the same number of pages.
I'm too shy for personal appearances, and I've found out that anytime I talk about my writing, I can't do any writing for many weeks afterward.
I never think about the actual process of writing. I suppose I have a superstition about examining it too closely.
When I first started writing, I wrote really sad, emotional songs which were all slow.
When I write songs, I'm just writing stories, and being in musical theatre taught me how to act them out through singing.
I've always been good at talking about my feelings; that helps with writing songs.
I'm a right pain in the hole for my agent. I won't take certain parts if I think they're offensive or banal. For instance, I won't do a film if I think it's full of violence for violence's sake, or a television drama if I don't think it's intelligent writing.
I was in Siena and decided I wanted to write a story set there. Then I discovered that the original story of Romeo and Juliet was set in Siena. It occurred to me that this was too much of a gift - I had to do it. That's how I ended up writing a parallel story to Romeo and Juliet.
I used to tell my writing students that they must write the books they wished they could come upon - because then the books they hungered and thirsted for would exist.
Writing has been so much a part of my life that I'm really quite annoyed that I can't do as much as I used to.
I do outlines when I'm writing with someone, but they also need to have a certain amount of freedom.
I also don't have organized religion on Pern. I figured - since there were four holy wars going on at the time of writing - that religion was one problem Pern didn't need.
When I began to be published, people got the idea that I should 'teach writing,' which I have no idea how to do and don't really believe in.
I work at the sentences. Many of the things people find distinctive about my writing, I think of as natural.
I'm very keenly aware that there aren't very many women writing literary fiction in Ireland and so that gives me a sense that what I say matters, in some small way.
Every single path is so different, but I would definitely say that the idea of what a writer is or should be is not a thing anymore. Everyone is redefining publishing, writing, and storytelling in general.
When I was doing it, I just thought, 'I'm going to do this because it's fun.' I wasn't writing for a publisher or a publishing model; I didn't really think about it, but then, somehow, it worked out in my favor.
I had gone from writing alone, not talking to anyone, to suddenly being in a room filled with not only people but actual celebrities.
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