Writing Quotes
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I didn't really start writing music or lyrics or turning them into songs until I went to San Francisco.
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In a way, I'm very interested in writing about Maine, because I think Maine represents its own kind of history. It's the oldest state, and it's the whitest state.
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Even at my biggest, I want to be writing for other artists. Even at my peak - the highest I can be as an artist - I always want to be keeping my creative juices flowing, keeping money in the bank, putting my intellectual property out there.
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By the time I joined the 'Washington Post' sports staff in 1979, Red's Runyonesque notion of sports writing was obsolete.
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If we were writing what the fans wanted to see, Betty and Jughead would be the most linear, monotonous narrative of all time.
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For me, writing is a love – hate relationship.
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I visited England immediately after I finished writing 'The Marrying Season,' before any editing or revisions.
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Write a lot and don't think about publishing - just the writing.
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The second half of the '60s really was a kind of learning period, in terms of writing, for me.
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I wrote 'Happy Man' with a couple of boys of mine. I have been writing in Nashville for a long time. Of course I was writing songs back in Oklahoma when I was a kid.
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I've had battles with writers who live in L.A. and were writing southern characters, because they felt like if they wrote 'Sugar' and 'Honey' at the end of every sentence, that would make it southern.
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Writing is no dying art form in America because most published writers here accept the wisdom and the necessity of encouraging the talent that follows in their footsteps.
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People say, Well, he wore that body out. Well, maybe I did. But it was to a good purpose. They should be thankful that I wore it out to the purpose I wore it out and that was writing and recording and touring and doing concerts. Everywhere I could possibly do them that I thought I might enjoy them. I thought people might enjoy me.
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When I'm writing, I'm in an isolation chamber. I'm not one to think about that outside world stuff when I'm writing.
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What I do say is that I can write verse, and that the writing of verse in strict form is the best possible training for writing good prose.
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In my writing I am acting as a map maker, an explorer of psychic areas, a cosmonaut of inner space, and I see no point in exploring areas that have already been thoroughly surveyed.
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Mystery writing involves solving a puzzle, but 'high suspense' writing is a situation whereby the writer thrusts the hero/heroine into high drama.
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I identify as an agent when I'm agenting, and I identify as an author when I'm writing. I expect both those things to be true for as long as I'm able to do them.
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I'm not very happy idle. There's always this voice in my head that says, 'I should be writing.'
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I know now that I began writing in a country where the word 'woman' and the word 'poet' were almost magnetically opposed. One word was used to invoke collective nurture, the other to sketch out self-reflective individualism. Both states were necessary - that much the culture conceded - but they were oil and water and could not be mixed.
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If what you're writing is genuine, regardless of whether it sounds cliche or people wouldn't necessarily think it's the most brilliant metaphor in the world, it's always important to be genuine with what you're writing; at least, that's how I feel.
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The problem with too beautiful a view is that it's alright for the mulling stage. But for the writing stage, you want to be somewhere without a view, especially if it is very different from what you're writing.
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People love talking about writers as storytellers, but I hate being called that: it suggests I got it from my grandmother or something, when my writing really comes out of silence. If a storyteller came up to me, I'd run away.
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I started writing juvenile novels around 1985. I never really thought of it as a career, but more as a way to make a living.
