Writing Quotes
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Life is a racket. Writing is a racket. Sincerity is a racket. Everything's a racket.
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One of the things that made me try writing novels was I could take time off to be with the kids. That's the practical side of what I love about the writing life.
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It helps, if you've directed, to be able to write a script that is director-friendly. You're really telling them [directors], "This is how it works on this show." It takes some of the guesswork out of it.
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I write with as much objectivity as I can.
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That's something that's really rare and special and what any actor would love - to have somebody that's specifically writing for you.
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Senorita was fun to sing, but I don't really have a favorite. When you write a bunch of songs, they're like your babies. You don't pick favorites.
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You can't write. That's not writing. It's scribbling. Distasteful scribbling. Why can't you write properly?
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Fundamental accuracy of statement is the ONE sole morality of writing.
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From a guitar player's point of view it's generally harder writing parts to songs than finding a part to base a song on.
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The process of writing a novel is getting to know more about the novel until you know everything about it. And it's been described as a kind of dreamlike state where you're letting the novel make its own shape, and you're putting into it the pleasure of creation, which is intoxicating.
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The muse whispers to you when she chooses, and you can't tell her to come back later, because you quickly learn in this business that she might not come back at all.
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You do an awful lot of bad writing in order to do any good writing. Incredibly bad. I think it would be very interesting to make a collection of some of the worst writing by good writers.
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I hope to keep writing journalism as long as I write fiction; it's afforded me such amazing adventures and opportunities. It does take a lot of time, so it's hard to do both at once, but I try to do a big journalism piece every couple of years, and I'll hopefully continue with that.
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I don't really need to appeal to some stockbroker, and I always sort of root for the underdog. I probably consider all that when I'm writing, but it's not in the forefront of my brain.
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I began my writing career in a very isolated place and time.
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Bernard Williams has been a distinctive presence on the intellectual scene for more than three decades. . . . His writings do not offer the dubious exhilaration of grand philosophical theory, in which messy reality is tamed and caged, but the thrill of seeing pretension punctured by a kind of high-voltage common sense (backed up by impressive erudition). . . . There is no one in philosophy quite like him.
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I consciously decided to make both 'Sammy's Hill' and 'Sammy's House' more of a warm satire and not go the route of writing a dark and bitter book about D.C.
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Find the best writers, pay them to write, and avoid typos at all costs.
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Modesty teaches us to speak of the ancients with respect, especially when we are not very familiar with their works. Newton, who knew them practically by heart, had the greatest respect for them, and considered them to be men of genius and superior intelligence who had carried their discoveries in every field much further than we today suspect, judging from what remains of their writings. More ancient writings have been lost than have been preserved, and perhaps our new discoveries are of less value than those that we have lost.
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The work of Jana Harris is unique in American writing. She has always had a voice of true grit—sometimes harsh, sometimes funny, always close to the bone, tart, and indomitable.
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You must stay drunk on writing so reality cannot destroy you.
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Like most-maybe all- writers, I learned to write by writing and, by example, by reading books.
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It took me nine months to write 60 pages. It was very frustrating
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The writing is the springboard for your intuitive stuff and then you see, maybe a colour of what you want to achieve. Then you bring in the technique you've learnt. But when you're on film, you're not always in control of that. That's what makes me believe in a kind of collective unconscious, a sort of experience you draw on.
