In His Own Write Quotes & Sayings

Look," she said, opening it up, fanning its blank pages in his direction. "This is a book, too, and precious little is written in it. It's just as accurate as the Grimmerie, and maybe more so. Don't be chagrined by its blankness. Be liberated instead. Go on, it's yours. I have never written a word in it worth saving, so what I give you isn't magic or the benefit of my thinking, but my belief in the blankness of our futures. Charms only go so far. Here, take it. Whether you write your own story in it or not, that's your affair. — Gregory Maguire

After a long while he sat upright with great effort, exhaled a sigh and reached for a clean sheet of lined paper, smoothing it out on the desk. He unscrewed the lid of his fountain pen, laid it perpendicular to his paper, and began to write. Often he compared his writing to white water. He had only to leap in to be dragged away on its rapids, thrown this way and that with his own will rendered impotent. While writing he found the words came from the muscles in his hands, the feel of the shaft of his pen, the locked joint of his elbow. the scratching noise of the nib marking paper and, underneath all that, some coordinating impulse in his guts. Certainly not from his mind. — Ali Shaw

In front of me 327 pages of the manuscript [Master and Margarita] (about 22 chapters). The most important remains - editing, and it's going to be hard. I will have to pay close attention to details. Maybe even re-write some things ... 'What's its future?' you ask? I don't know. Possibly, you will store the manuscript in one of the drawers, next to my 'killed' plays, and occasionally it will be in your thoughts. Then again, you don't know the future. My own judgement of the book is already made and I think it truly deserves being hidden away in the darkness of some chest.
[Bulgakov from Moscow to his wife on June 15 1938] — Mikhail Bulgakov

Like all men with a faculty that surpasses human requirements, his father was very nervous. Then, too, he was sentimental, and, like most sentimental people, he was both cruel and abused. Also, he had much bad luck, and it was not all of it his own. He had died in a trap that he had helped only a little to set, and they had all betrayed him in their various ways before he died. All sentimental people are betrayed so many times. Nick could not write about him yet, although he would, later, — Ernest Hemingway,

There is a problem in America. An Irish or Polish American can write a story and it's an American story. When a Black American writes a story, it's called a Black story. I take exception to that. Every artist has articulated to his own experience. The problem is that some people do not see Blacks as Americans. — Gloria Naylor

One retired pastor, who felt that he was being called to write a book about homosexuality, interviewed me. He said he wanted his book to be pastorally compassionate toward gay people while exhorting the church to remain firm in holding to a traditional, biblical sexual ethic. He said, "You have to be careful to not love people too much. Loving people changes you." Indeed, loving people does change you. Loving people who are different than you changes you. But it seems to me that such change is consistent with the call of Christ. Allowing your heart to enter the beauty and brokenness of another's life (which really isn't so different from your own), to hear hopes and dreams and disappointments, fears and hurts and joys does change you. One ought not be afraid of that. — Wendy Vanderwal-Gritter

I don't write under the ghost of Faulkner. I live in the same town and find his life and work inspiring, but that's it. I have a motorcycle and tool along the country lanes. I travel at my own speed. — Barry Hannah

We are made for art ... The moment Maddy took up the tendril phrase, Els knew she was as dear to him as his own life. Talons gripped his ribs, and he felt a joy bordering on panic. He needed to know how this woman would unfold. He needed to write music that would settle into her range like frost on fields. They'd spend their years together, grow old, get sick, die in shared bewilderment. — Richard Powers

To me, one of the greatest triumphs in doing a book is to tell the story as simply as possible. My aim is to imply rather than to overstate. Whenever the reader participates with his own interpretation, I feel that the book is much more successful. I write with the premise that less is more. Writing is not difficult to me. I read into a tape recorder, constantly dropping a word here and there from my manuscript until I get a minimum amount of words to say exactly what I want to say. Each time I drop a word or two, it brings me a sense of victory! — Ezra Jack Keats

A dear and long-time friend, ... asked me, "Jack, how long does it usually take you to write a book?" I replied, "Of course it depends on the project and its requirements, each book has its own rules. But for a statement to the world at large, once I've thought a book through and written it in my mind, it takes me around a week or so, depending on this and that, ordinarily at the rate of a chapter a day, but I've had some two-chapters day and some chapters have taken two days. And then of course there is revision, but around a week is about right." He seemed surprised, and I was surprised by his surprise, so I thought, maybe I'm wrong. I went home and wrote this book, at the perfectly normal pace of a chapter a day, as usual ... — Jacob Neusner

I think a lot about the poems I wasn't able to write ... I masturbrated ... Solitude is essentially a matter of pride; you bury yourself in your own scent. The issue is the same for all real poets. If you've been happy for too long, you become banal. By the same token, if you've been unhappy for a long time, you lose your poetic power ... Happiness and poverty can only coexist for the briefest time. Afterword either happiness coarsens the poet or the poem is so true it destroys his happiness. — Orhan Pamuk

...music does not mean anything at all. You cannot ask it to speak to you in such concrete terms. It can evoke, affect, cajole and persuade, but it's language is not that of speech. Indeed, if a composer can say in literal terms what his music means, he had much better write prose than notes... Let music, when you hear it, work on you in its own way...let it flow around you and find its own way to touch you. It is not something you must translate moment by moment. Give it your attention. If it fails to speak to you in its own manner then, well, it is a failure of the music, not in yourself. — Imogen Robertson

Some may think there is danger of setting too high a standard of action. I have heard teachers contend that a child will learn to write much faster by having an inferior copy, than by imitating one which is comparatively perfect; 'because,' say they, 'a pupil is liable to be discouraged if you give him a perfect copy; but if it is only a little in advance of his own, he will take courage from the belief that he shall soon be able to equal it.' I am fully convinced, however, that this is not so. The more perfect the copy you place before the child, provided it be written, and not engraved, the better. For it must always be possible in the nature of things, for the child to imitate it; and what is not absolutely impossible, every child may reasonably be expected to aspire after, on the principle, that whatever man has done, man may do. — Anonymous

The problem of the novelist who wishes to write about a man's encounter with God is how he shall make the experience
which is both natural and supernatural
understandable, and credible, to his reader. In any age this would be a problem, but in our own, it is a well- nigh insurmountable one. Today's audience is one in which religious feeling has become, if not atrophied, at least vaporous and sentimental. — Flannery O'Connor

Characters take on life sometimes by luck, but I suspect it is when you can write more entirely out of yourself, inside the skin, heart, mind, and soul of a person who is not yourself, that a character becomes in his own right another human being on the page. — Eudora Welty

In the letters he sends to his friend, Werther recounts both the events of his life and the effects of his passion; but it is literature which governs the mixture. For if I keep a journal, we may doubt that this journal relates, strictly speaking, to events. The events of amorous life are so trivial that they gain access to writing only by an immense effort: one grows discouraged writing what, by being written, exposes its own platitude: "I ran into X, who was with Y" "Today X didn't call me" "X was in a bad mood," etc.: who would see a story in that? The infinitesimal event exists only in its huge reverberation: Journal of my reverberations (of my wounds, my joys, my interpretations, my rationalizations, my impulses): who would understand anything in that? Only the Other could write my love story, my novel. — Roland Barthes

Whatever happened in those more than one hundred years, from the time my great-great-great grandfather studied law to the time when my own father took his bar exam in 1989, I may never know. Perhaps it was just greed and the good, old-fashion corruption that comes with power. The Drexlers have moved from the fight for human rights to the fight for corporations and wealthy individuals. We file their taxes, write their contracts, clean up their messes. As I see it, we have become little more than glorified Public Relations reps — Gwenn Wright

Men still have everything to say about their sexuality, and everything to write. For what they have said so far, for the most part, stems from the opposition activity/
passivity, from the power relation between a fantasized obligatory virility meant
to invade, to colonize, and the consequential phantasm of woman as a "dark
continent" to penetrate and to "pacify." (We know what "pacify" means in terms of
scotomizing the other and misrecognizing the self.) Conquering her, they've made
haste to depart from her borders, to get out of sight, out of body. The way man has
of getting out of himself and into her whom he takes not for the other but for his
own, deprives him, he knows, of his own bodily territory. One can understand
how man, confusing himself with his penis and rushing in for the attack, might
feel resentment and fear of being "taken" by the woman, of being lost in her,
absorbed, or alone. — Helene Cixous

If you want help in starting to write memoirs, you don't want to fall into the clutches of a famous writer who has been hired to teach at a writing workshop solely because of his name's ability to attract students, rather than because of any teaching skill. You should not have to grapple with someone who secretly thinks you should be writing about his life rather than your own. — Judith Barrington

I write sourly, for disliking artificially conserved communites I have tended to see the salvation as more distressing than the threat: but in my more rational moments I do recognize that letting Venice sink, my own solution for her anxieties, is a counsel of perfection that cannot be pursued. She will be saved, never fear: it is only in selfish moments of fancy that I see her still obeying her obvious destiny, enfolded at last by the waters she espoused, her gilded domes and columns dimly shining in the green, and at very low tides, perhaps, the angel on the summit of the Campanile to be seen raising his golden forefinger (for he stands in an exhortatory, almost an ecological pose) above the mud-banks. — Jan Morris

Churchill wrote his own speeches. When a leader does that, he becomes emotionally invested with his utterances ... If Churchill had had a speech write in 1940, Britain would be speaking German today. — James C. Humes

Then the woman in the bed sat up and looked about her with wild eyes; and the oldest of the old men said: 'Lady, we have come to write down the names of the immortals,' and at his words a look of great joy came into her face. Presently she, began to speak slowly, and yet eagerly, as though she knew she had but a little while to live, and, in English, with the accent of their own country; and she told them the secret names of the immortals of many lands, and of the colours, and odours, and weapons, and instruments of music and instruments of handicraft they held dearest; but most about the immortals of Ireland and of their love for the cauldron, and the whetstone, and the sword, and the spear, and the hills of the Shee, and the horns of the moon, and the Grey Wind, and the Yellow Wind, and the Black Wind, and the Red Wind. ("The Adoration of the Magi") — W.B.Yeats

Can we really put Ben (hereby representing all men) on such a pedestal? Having tamed those beasts set aside for him, is it not like Ben to seek out that which has historically (regardless of how brief a history) been set aside for women? Woolf criticizes the masculine in her work with the repetition of the phrases uttered by that inconsiderate individual who makes the claim that women cannot paint or write. Is Ben not committing the same crime as that unfortunate character?
In stating "[b]etter like this, bitch," Ben employs a word that I would consider to be demasculinizing, rather than feminine. In using the word bitch, he seizes this scholarly investigation and, if you will, pisses on it, claiming it as his own. His statement is an outright challenge. This is a book I stole from women, and I urinated on it. You'd better appreciate my conquest or I will also urinate on you. — Caris O'Malley

Perfect Scepticismeis a disease incurable, and a thing rather to be pitied or laughed at, then seriously opposed. For when aman is so fugitive and unsettled that he will not stand to the verdict of his own Faculties, one can no more fasten any thing upon him, than he can write in the water, or tye knots in the wind. — Henry More

A man always writes absolutely well whenever he writes in his own manner, but the wigmaker who tries to write like Gellert ... writes badly. — Georg C. Lichtenberg

I was searching for a vocabulary with which to make sense of death, to find a way to begin defining myself and inching forward again. The privilege of direct experience had led me away from literary and academic work, yet now I felt that to understand my own experiences, I would have to translate them back into language. Hemingway described his process in similar terms: acquiring rich experiences, then retreating to cogitate and write about them. I needed words to go forward. — Paul Kalanithi

There is a great tendency today to want everybody to write just the way everybody else does, to see and to show the same things in the same way to the same middling audience. But the writer, in order best to use the talents he has been given, has to write at his own intellectual level. For him to do anything else is to bury his talents. This doesn't mean that, within his limitations, he shouldn't try to reach as many people as possible, but it does mean that he must not lower his standards to do so. — Flannery O'Connor

It seems to me that the novel is very much alive as a form. Without any question, every epoch has its own forms, and the novel nowadays cannot resemble that of the nineteenth century. In this domain all experiments are justified, and it is better to write something new clumsily than to repeat the old brilliantly. In the nineteenth century, novels dealt with the fate of a person or of a family; this was linked to life in that period. In our time the destinies of people are interwoven. Whether man recognizes it or not, his fate is much more linked to that of many other people than it used to be. — Ilya Ehrenburg

Whoever produced the first draft would need, in all fairness, to put in some of what the other side wanted alongside his own demands. His statement of the other side's wishes then became an irreducible minimum, while all of his own demands were still up for negotiation. So the drafter always started at a disadvantage. Greg vowed to remember never to write the first draft. — Ken Follett

God thought and things came to be, in-formed: the divine thought is the complicated womb of all that is. For it's not likely that, like some painter, He conjured up an image from a similar image, having seen beforehand things which His own one mind did not write. — Gregory Of Nazianzus

Since the president's [Barack Obama] lost all of that[majority in Senate], he now has decided he's just going to write laws on his own. He's going to give us edicts, as if he's a king. And that is a petulant child. He's refusing to listen to the will of the American people, which is they reject his policies. — Chris Christie

I'll probably never produce a masterpiece, but so what? I feel I have a Sound aborning, which is my own, and that Sound if erratic is still my greatest pride, because I would rather write like a dancer shaking my ass to boogaloo inside my head, and perhaps reach only readers who like to use books to shake their asses, than to be or write for the man cloistered in a closet somewhere reading Aeschylus while this stupefying world careens crazily past his waxy windows toward its last raving sooty feedback pirouette. — Lester Bangs

And so too, in later years, when I began to write a book of my own, and the quality of some sentences seemed so inadequate that I could not make up my mind to go on with the undertaking. I would find the equivalent in Bergotte. But it was only then, when I read them in his pages, that I could enjoy them; when it was I myself who composed them, in my anxiety that they should exactly reproduce what I had perceived in my mind's eye, and in my fear of their not turning out "true to life," how could I find time to ask myself whether what I was writing was pleasing! — Marcel Proust

Anybody can write, but not everybody invents new forms of writing. Gertrude Stein invented a new form of writing and her imitators are just 'talents.' Hemingway later invented his own form also. The criterion for judging talent or genius is ephemeral, speaking rationally in this world of graphs, but one gets the feeling definitely when a writer of genius amazes him by strokes of force never seen before and yet hauntingly familiar. — Jack Kerouac

The historical sense compels a man to write not merely with his own generation in his bones, but with a feeling that the whole of literature from Homer and within it the whole of the literature of his own country has a simultaneous existence and composes a simultaneous order. — T. S. Eliot

If man merely sat back and thought about his impending termination, and his terrifying insignificance and aloneness in the cosmos, he would surely go mad, or succumb to a numbing sense of futility. Why, he might ask himself, should he bother to write a great symphony, or strive to make a living, or even to love another, when he is no more than a momentary microbe on a dust mote whirling through the unimaginable immensity of space? Those of us who are forced by their own sensibilities to view their lives in this perspective - who recognize that there is no purpose they can comprehend and that amidst a countless myriad of stars their existence goes unknown and unchronicled - can fall prey all too easily to the ultimate anomie. The world's religions, for all their parochialism, did supply a kind of consolation for this great ache. — Stanley Kubrick

Part of the writer's problem may be thee wrong kind of appreciation: hen he does work he knows to be less than he's capable of, his friends praise precisely those things he knows to be weak or meretricious. The writer who cannot write because nothing he writes is good enough, by his own standards, and because no one around him seems to share his standards, is in a special sort of bind:
the love of good fiction that gets him started in the first place makes him scornful of the flawed writing he does (nearly all first-draft writing is flawed) and his sense that nobody cares about truly good fiction robs him of motivation. — John Gardner

For this reason, my dear Sir, the only advice I have is this: to go into yourself and to examine the depths from which your life springs; at its source you will find the answer to the question of whether you have to write. Accept this answer as it is, without seeking to interpret it. Perhaps it will turn out that you are called to be an artist. Then assume this fate and bear it, its burden and its greatness, without ever asking after the rewards that may come from outside. For he who creates must be a world of his own and find everything within himself and in the natural world that he has elected to follow. — Rainer Maria Rilke

What you're trying to do when you write is to crowd the reader out of his own space and occupy it with yours, in a good cause. You're trying to take over his sensibility and deliver an experience that moves from mere information. — Robert Stone

We met because Chad was in one of my classes, and I was looking for someone to write music with. I knew that he wrote his own music, and he seemed nice, so I found out he was going to be in a practice room, practicing his trumpet. He'd already said he was too busy to hang out or hear any new people or work on any music, so I stalked him. — Ian Axel

When, in May, tensions reached a high point, London warned Berlin that if it attacked Czechoslovakia and the French were embroiled as well, "His Majesty's Government could not guarantee that they would not be forced by circumstances to become involved also". Ar the same time, English officials were telling their counterparts in Paris that they were "not disinterested" in Czechoslovakia's fate. I learned in the course of my own career that British diplomats are trained to write in with precision; so when a double negative is employed, the intent, usually, is not to clarify an issue but to surround it with fog. — Madeleine K. Albright

As a young man, he was already rather pompous and full of himself, concerned with what he would write and with his early (and, later, perennial) hatred of Ireland and the Irish. When he had still written only a few poems, he asked his brother Stanislaus: "Don't you think there is a certain resemblance between the mystery of the Mass and what I am trying to do? I mean that I am trying in my poems to give people some kind of intellectual pleasure or spiritual enjoyment by converting the bread of daily life into something that has a permanent artistic life of its own ... for their mental, moral, and spiritual uplift." When he was older his comparisons may have been less eucharistic and more modest, but he was always convinced of the extreme importance of his work, even before it existed. — Javier Marias

When people write in favor or against anybody, that hardly helps or hurts them ... man can be done or undone by his own writing, not by what other people say of him. — Jorge Luis Borges

He really believes that to write a poem in praise of my mother (her eyes, her hair, her lips) and come by to read it aloud will soften her, make him welcome in his own house. — Ian McEwan

A man is in no danger so long as he talks his love; but to write it is to impale himself on his own pothooks. — Douglas William Jerrold

Why'd you quit?"
"I guess I was fed up with the whole thing. But I gave it my best shot. Surprised myself, really. I learned to think about people other than me, but in the end I just got kicked around by a cop. The way I see it, sooner or later everyone returns to his post. Except yours truly. For me, it was a game of musical chairs -- there was no place I could call my own."
"So what'll you do now?"
The Rat toweled off his feet.
"I might write a novel," he said a moment later. "What do you think?"
"I think it's a great idea."
The Rat nodded.
"What kind of novel?"
"A good novel. From where I stand, anyway. I doubt I have any special talent for writing, but if I stick with it at least I can become more enlightened. Otherwise, what's the point, right?"
"Right."
"So the novel will be for myself. Or maybe for the cicadas."
"The cicadas?"
"Yeah. — Haruki Murakami

What are you burning?" On a glance, just some papers.
"I write in a journal." He spoke below his breath, so that his words weren't quite for me. "Because I like to see everything written down. So that I know it really happened. That I wasn't just making it up. Then I read it and memorize it. And then I have to destroy the hard evidence."
I thought of my own journal, the muddle of every page. All those unfiltered, lunatic letters to Sean Ryan.
"What is it, exactly, that you need to destroy?"
"Everything that I don't want to be true. — Adele Griffin

As a teacher, Kurt Vonnegut was easy, magnanimous. He didn't try to make his students into little Kurt Vonneguts. He respected material unlike his own and was startlingly humble about what he did. ("I write with a big black crayon," he would write to me later, "while you're more of an impressionist. I don't think you have it in you to be crude.") In his workshop sessions, things always seemed a little looser, a little kinder, a little funnier. — Gail Godwin

I do not, can not write just for money. Lord knows I haven't made much. I write because it is what my Father has given me to do. I do not mean that He woke me one morn, put His finger to my forehead and commanded me write. I mean He quietly and gently in His grace, whispered into my head, into my heart: courage to fail, confidence to succeed, belief in my ability to learn and in my own self worth. So in thankfulness I write. — Stanley Christopher

Then Allen said, I've discovered a way to have a lot more time. In the past, I used to look at my time as if it were divided into several parts. One part I reserved for Joey, another part was for Sue, another part to help with Ana, another part for household work. The time left over I considered my own. I could read, write, do research, go for walks. But now I try not to divide time into parts anymore. I consider my time with Joey and Sue as my own time. When I help Joey with his homework, I try to find ways of seeing his time as my own time. I go through his lesson with him, sharing his presence and finding ways to be interested in what we do during that time. The time for him becomes my own time. The same with Sue. The remarkable thing is that now I have unlimited time for myself! — Thich Nhat Hanh

I used to hide my real emotions in gobbledegook, like in In His Own Write. When I wrote teenage poems, I wrote in gobbledegook because I was always hiding my real emotions from Mimi. — John Lennon

The Lord Commander had given him his orders when they made their camp on the Fist. "You're no fighter. We both know that, boy. If it happens that we're attacked, don't go trying to prove otherwise, you'll just get in the way. You're to send a message. And don't come running to ask what the letter should say. Write it out yourself, and send one bird to Castle Black and another to the Shadow Tower." The Old Bear pointed a gloved finger right in Sam's face. "I don't care if you're so scared you foul your breeches, and I don't care if a thousand wildlings are coming over the walls howling for your blood, you get those birds off, or I swear I'll hunt you through all seven hells and make you damn sorry that you didn't." And Mormont's own raven had bobbed its head up and down and croaked, "Sorry, sorry, sorry. — George R R Martin

Joss's stories are often centered on moments just like this. He shares a conversation that he had with Stephen Sondheim, in which they were discussing the stories each of them tells. Joss said he was always going to write about adolescent girls with superpowers. Sondheim replied, "And I will always write about yearning." "Goddammit, his answer was so much cooler than mine!" Joss says - but Sondheim's answer pushed him to break down his own tales and figure out what his driving impetus was, what he was really writing about. "Helplessness was what I realized was sort of the basic thing," Joss explains. "All of these empowerment stories come from my fear and hatred of the idea of somebody who is really helpless, who is a non-being. — Amy Pascale

Generally speaking, an author's style is a faithful copy of his mind. If you would write a lucid style, let there first be light in your own mind; and if you would write a grand style, you ought to have a grand character. — Johann Wolfgang Von Goethe

We will not walk in fear, one of another. We will not be driven by fear into an age of unreason, if we dig deep in our own history and our doctrine and remember that we are not descended from fearful men. Not from men who feared to write, to speak, to associate, and to defend causes that were, for the moment, unpopular ... There is no way for a citizen of the Republic to abdicate his responsibility. — Edward R. Murrow

At the age of three, Tito Mukhopadhyay was diagnosed with severe autism, but his mother, Soma, refused to accept the conventional wisdom of the time that her son would be unable to interact with the outside world. She read to him, taught him to write in English, and challenged him to write his own stories. — Temple Grandin

In the eyes of others a man is a poet if he has written one good poem. In his own he is only a poet at the moment when he is making his last revision to a new poem. The moment before, he was still only a potential poet; the moment after, he is a man who has ceased to write poetry, perhaps forever. — W. H. Auden

As a matter of fact, that's the reason why I've learned to speak this language, and to write it too: so I can speak in the place of a dead man, so I can finish his sentences for him. The murderer got famous, and his story's too well written for me to get any ideas about imitating him. He wrote in his own language. Therefore I'm going to do what was done in this country after Independence: I'm going to take the stones from the old houses the colonists left behind, remove them one by one, and build my own house, my own language. The murderer's words and expressions are my unclaimed goods. Besides, the country's littered with words that don't belong to anyone anymore. — Kamel Daoud

Sex is difficult to write about because it's just not sexy enough. The only way to write about it is not to write much. Let the reader bring his own sexuality into the text. A writer I usually admire has written about sex in the most off-putting way. There is just too much information. — Toni Morrison

I'm really curious about the memory of Nixon for people who grew up under Clinton. What do people remember of him? In his day, the definition of a conservative right-wing president is more like a centrist in our own time. He's also one of our funnier presidents - just a really good character to write about. — Austin Grossman

I squeezed her hand and said nothing. I knew little about Keats or his poetry, but I thought it possible that in his hopeless situation he would not have wanted to write precisely because he loved her so much. Lately I'd had the idea that Clarissa's interest in these hypothetical letters had something to do with our own situation, and with her conviction that love that did not find its expression in a letter was not perfect. In the months after we'd met, and before we'd bought the apartment, she had written me some beauties, passionately abstract in the ways our love was different from and superior to any that had ever existed. Perhaps that's the essence of a love letter, to celebrate the unique. I had tried to match her, but all that sincerity would permit me were the facts, and they seemed miraculous enough to me: a beautiful woman loved and wanted to be loved by a large, clumsy, balding fellow who could hardly believe his luck. — Ian McEwan

In the last three years, he'd met many women.Young. Old. Pretty. Plain. Devout. Flirtatious. After living only among men for years,he found he enjoyed the company of women.Their gracious manners.Their gentle ways.Their lovely figures. But never had he felt anything deeper than a surface admiration. Perhaps because he'd been so focused on his training.Yet only after a handful of minutes, Joanna Robbins had touched something deep inside him, as only a kindred spirit could do.
She'd experienced the Lord's call on her life as surely as he had.And while he'd been called to minister to many, she'd been called for one. Who was he to say her calling any less significant than his own? In fact her dedication to the one in her care humbled him, gave him a perspective he'd been lacking. In other circumstances,he could easily imagine the two of them becoming friends. Maybe after he settled in Brenham, he could write to her, encourage her. — Karen Witemeyer

Everyone who believes in God must therefore admit (quite apart from the question of prayer) that God has not chosen to write the whole of history with His own hand. — C.S. Lewis

But if any man undertake to write a history, that has to be collected from materials gathered by observation and the reading of works not easy to be got in all places, nor written always in his own language, but many of them foreign and dispersed in other hands, for him, undoubtedly, it is in the first place and above all things most necessary, to reside in some city of good note, addicted to liberal arts, and populous; where he may have plenty of all sorts of books, and upon inquiry may hear and inform himself of such particulars as, having escaped the pens of writers, are more faithfully preserved in the memories of men, lest his work be deficient in many things, even those which it can least dispense with. — Plutarch

Western man has tried for too many centuries to fool himself that he lives in a rational world. No. There's a story about a man who, while walking along the street, was almost hit on the head and killed by an enormous falling beam. This was his moment of realization that he did not live in a rational world but a world in which men's lives can be cut off by a random blow on the head, and the discovery shook him so deeply that he was impelled to leave his wife and children, who were the major part of his old, rational world. My own response to the wild unpredictability of the universe has been to write stories, to play the piano, to read, listen to music, look at paintings - not that the world may become explainable and reasonable but that I may rejoice in the freedom which unaccountability gives us. — Madeleine L'Engle

What can it matter to me,' he says, 'whether people read my books or not? It may matter to (the critics)
but I have too much money to want more, and if the books have any stuff in them it will work by and by. I do not know nor greatly care whether they are good or not. What opinion can any sane man form about his own work? Some people must write stupid books just as there must be junior ops and third-class poll men. Why should I complain of being among the mediocrities? If a man is not absolutely below mediocrity let him be thankful
besides, the books will have to stand by themselves some day, so the sooner they begin the better. — Samuel Butler

It seemed to me that had Haydn lived to our day he would have retained his own style while accepting something of the new at the same time. That was the kind of symphony I wanted to write: a symphony in the classical style. And when I saw that my idea was beginning to work, I called it the Classical Symphony. — Sergei Prokofiev

Stallone is a great writer. He wrote one of the best screenplays ever written. Rocky. It is one of the biggest classics of all time. I think in the past, he was shying away from writing his own stuff, because there is a lot of pressure when you star in something that you write. — Dolph Lundgren

Okay, write that down," Hermoine said to Ron, pushing his essay and a sheet covered in her own writing back to Ron, "and then copy out this conclusion that I've written for you."
"Hermoine, you are honestly the most wonderful person I've ever met," said Ron weakly, "and if I'm ever rude to you again
"
"
I'll know you're back to normal," said Hermoine. — J.K. Rowling

If you write a story based on a real person, you're trapped by the details of the real person and his life. It gets in the way of writing your own story. — Caroline B. Cooney

It is a glorious thing, to be able to write with pen on paper instead of nail or hook into oak, to feel one's words flowing so smoothly from instrument to surface, without the barriers of friction or poor leverage, and yet its own subtle tactile pleasures as the nib scratches tiny channels into the sheet. And here, unlike in his cabin, here he feels no division between his mind and his hand, no errors in translation or static in the transmission: the words appearing on the page are the ones he has intended to put there, the images match the scenes in his mind, the sensations the very ones that warm his chest, prickle his scalp, push against his eyes. — Doug Dorst

Two temptations that impair the value of their work inevitably beset public men who write memoirs. One is a tendency to reconstruct the past to suit the present views and feelings of the writer; the other is a natual desire to set his own part in affairs in a pleasing light. — Edward Grey, 1st Viscount Grey Of Fallodon

AMONG THE DEMONS that taunt a writer before he can open a vein and write in his own blood are the devils that whisper: Are you brave enough to tell the truth? — Francine Prose

There is no more precious experience in life than friendship. And I am not forgetting love and marriage as I write this; the lovers, or the man and wife, who are not friends are but weakly joined together. One enlarges his circle of friends through contact with many people. One who limits those contacts narrows the circle and frequently his own point of view as well. — Eleanor Roosevelt

My son is a great kid and does super well in school. I couldn't be prouder of him. What I tell him is, 'You don't want to just be known for being the son of a rich rock 'n' roll star.' I've seen a lot of kids like that. I want him to be happy, work hard and create his own thing. I tell him, 'You're not gonna be one of these kids up on stage playing with me. If you wanna have hits - write your own. Then we can play together.' — Kid Rock

He could see her planting violets on his grave, a solitary figure in a grey cloak. What a ghastly tragedy. A lump came to his throat. He became quite emotional thinking of his own death. He would have to write a poem about this.
from a Difference in Temperament — Daphne Du Maurier

Our host drifted away, and Vidia and I continued chatting about this and that. Swift judgments came down. The simplicity in Hemingway was "bogus" and nothing, Vidia said, like his own. Things Fall Apart was a fine book, but Achebe's refusal to write about his decades in America was disappointing. Heart of Darkness was good, but structurally a failure. I asked him about the biography by Patrick French, The World Is What It Is, which he had authorized. He stiffened. That book, which was extraordinarily well written, was also shocking in the extent to which it revealed a nasty, petty, and insecure man. "One gives away so much in trust," Vidia said. "One expects a certain discretion. It's painful, it's painful. But that's quite all right. Others will be written. The record will be corrected." He sounded like a boy being brave after gashing his thumb. The — Teju Cole

Am I sure that there is no mind behind our existence and no mystery anywhere in the universe? I think I am. What joy, what relief there would be, if we could declare so with complete conviction. If that were so I could wish to live for ever. How terrifying and glorious the role of man if, indeed, without guidance and without consolation he must create from his own rituals the meaning for his existence and write the rules whereby he lives. — Thornton Wilder

Editing should be, especially in the case of old writers, a counselling rather than a collaborating task. The tendency of the writer-editor to collaborate is natural, but he should say to himself, 'How can I help this writer to say it better in his own style?' and avoid 'How can I show him how I would write it, if it were my piece?' — James Thurber

You can't write, yet you learned to hunt, to survive. How?"
I paused with my foot on the threshold. "That's what happens when you're responsible for lives other than your own, isn't it? You do what you have to do."
He was still sitting on the table, still straddling that inner line between the here and now and wherever he'd had to go in his mind to endure the fight with the Bogge. I met his feral and glowing stare.
"You aren't what I expected - for a human. — Sarah J. Maas

His education had had the curious effect of making things that he read and wrote more real to him than things he saw. Statistics about agricultural laborers were the substance; any real ditcher, plowman or farmer's boy, was the shadow. Though he had never noticed it himself, he had a great reluctance, in his work, ever to use words as 'man' or 'woman.' He preferred to write about 'vocational groups,' 'elements,' 'classes' and 'populations:' for, in his own way, he believed as firmly as any mystic in the superior reality of the things that are not seen. — C.S. Lewis

Artham felt lighter and stronger, and for the first time in nine years, his mind was clear and sure. The words to a hundred of his own poems scrolled across his memory; he saw faces of old friends, battles he had fought, and even the most terrible moments of his life - and yet he remained himself. The wild animal inside that he had struggled so long to kill pulsed with power, but it was no longer his master. He rode the pain like a knight rides a horse. ...
Artham's eyes watered from the wind and from the speed and from the magnificent beauty of the land arrayed below him. Water streaked from the corners of his eyes ... and , in the vicious cold froze into silvery jewels.
He would have to write a poem about this. — Andrew Peterson

When we read, another person thinks for us: we merely repeat his mental process. In learning to write, the pupil goes over with his pen what the teacher has outlined in pencil: so in reading; the greater part of the work of thought is already done for us. This is why it relieves us to take up a book after being occupied with our own thoughts. And in reading, the mind is, in fact, only the playground of another's thoughts. So it comes about that if anyone spends almost the whole day in reading, and by way of relaxation devotes the intervals to some thoughtless pastime, he gradually loses the capacity for thinking; just as the man who always rides, at last forgets how to walk. This is the case with many learned persons: they have read themselves stupid. — Arthur Schopenhauer

Later that same spring of 1872, in his own annual report, Roebling would write that most men got over their troubles either by suffering for a long time or "by applying the heroic mode of returning into the caisson at once as soon as pains manifested themselves. — David McCullough

A successful author is equally in danger of the diminution of his fame, whether he continues or ceases to write. The regard of the public is not to be kept but by tribute, and the remembrance of past service will quickly languish unless successive performances frequently revive it. Yet in every new attempt there is new hazard, and there are few who do not, at some unlucky time, injure their own characters by attempting to enlarge them. — Samuel Johnson

Andrew Carnegie, the poverty-stricken Scotch lad who started to work at two cents an hour and finally gave away $365 million, learned early in life that the only way to influence people is to talk in terms of what the other person wants. He attended school only four years; yet he learned how to handle people. To illustrate: His sister-in-law was worried sick over her two boys. They were at Yale, and they were so busy with their own affairs that they neglected to write home and paid no attention whatever to their mother's frantic letters. Then Carnegie offered to wager a hundred dollars that he could get an answer by return mail, without even asking for it. Someone called his bet; so he wrote his nephews a chatty letter, mentioning casually in a postscript that he was sending each one a five-dollar bill. He neglected, however, to enclose the money. Back came replies by return mail thanking "Dear Uncle Andrew" for his kind note and - you can finish the sentence yourself. — Dale Carnegie

It absolutely helped - to write the father in both 'Juicy' and 'Beasts,' I had to see the whole story from his point of view. All of a sudden I understood more of what my own father must be going through - the fear, the frustration, the anger ... the hope that he'll leave a legacy. — Lucy Alibar

The satirist who writes nothing but satire should write but little - or it will seem that his satire springs rather from his own caustic nature than from the sins of the world in which he lives. — Anthony Trollope

The serious writer has always taken the flaw in human nature for his starting point, usually the flaw in an otherwise admirable character. Drama usually bases itself on the bedrock of original sin, whether the writer thinks in theological terms or not. Then, too, any character in a serious novel is supposed to carry a burden of meaning larger than himself. The novelist doesn't write about people in a vacuum; he writes about people in a world where something is obviously lacking, where there is the general mystery of incompleteness and the particular tragedy of our own times to be demonstrated, and the novelist tries to give you, within the form of the book, the total experience of human nature at any time. For this reason, the greatest dramas naturally involve the salvation or loss of the soul. Where there is no belief in the soul, there is very little drama. — Flannery O'Connor

We'd like to just write nothing but lyric poetry. The trouble is, the individual is going along intent on his own personal gratifications and love affairs and financial affairs and everything else. But loping alongside him is this fascist lout who keeps trying to take over. And if you keep ignoring him, he gets bigger and bigger, so every once in a while the free individual has to turn away from his private pursuits and give this fascist lout a few clouts, and beat him down to size. — Lawrence Ferlinghetti

There's a Good Book about goodness and how to be good and so forth, but there's no Evil Book about how to be evil and how to be bad. The Devil had no prophets to write his Ten Commandments, and no team of authors to write his biography. His case has gone completely by default. We know nothing about him but a lot of fairy stories from our parents and schoolmasters. He has no book from which we can learn the nature of evil in all its forms, with parables about evil people, proverbs about evil people, folklore about evil people. All we have is the living example of people who are least good, or our own intuition. — Ian Fleming

Trusting in the LORD 1 My child,* never forget the things I have taught you. Store my commands in your heart. 2 If you do this, you will live many years, and your life will be satisfying. 3 Never let loyalty and kindness leave you! Tie them around your neck as a reminder. Write them deep within your heart. 4 Then you will find favor with both God and people, and you will earn a good reputation. 5 Trust in the LORD with all your heart; do not depend on your own understanding. 6 Seek his will in all you do, and he will show you which path to take. 7 Don't be impressed with your own wisdom. Instead, fear the LORD and turn away from evil. 8 Then you will have healing for your body and strength for your bones. — Anonymous

The Hegelian babble about the real being the true is therefore the same kind of confusion as when people assume that the words and actions of a poet's dramatic characters are the poet's own. We must, however, hold fast to the belief that when God - so to speak - decides to write a play, he does not do it simply in order to pass the time, as the pagans thought. No, no: indeed, the utterly serious point here is that loving and being loved is God's passion. It is almost - infinite love! - as if he is bound to this passion, almost as if it were a weakness on his part; whereas in fact it is his strength, his almighty love: and in that respect his love is subject to no alteration of any kind. There — Hans Urs Von Balthasar

Before the magisterial mess of Trevor Thomas's house, the orderly houses that most of us live in seem meagre and lifeless
as, in the same way, the narratives called biographies pale and shrink in the face of the disorderly actuality that is a life. The house also stirred my imagination as a metaphor for the problem of writing. Each person who sits down to write faces not a blank page but his own overfilled mind. The problem is to clear out most of what is in it ... The goal is to make a space where a few ideas and images and feelings may be so arranged that a reader will want to linger awhile among them, rather than to flee, as I wanted to flee from Thomas's house. — Janet Malcolm

If man could write his own fate, he would have designed his journey to be without obstacles. Yet all obstacles come with valuable lessons designed just for you and only you. Suffering is imposed on us time and again so that one day we would become brave wise masters. That is, a strong being who is confidently aware of their intended direction in life, and fearlessly adding value to the world and their future. — Suzy Kassem

There was nowhere for her to go. Not in the kitchen, not in the hallway, not in the bedroom. What she wanted was a little room of her own where she could go and jot down small things in her diary. Tatiana had no little room of her own. As a result she had no diary. Diaries, as she understood them from books, were supposed to be full of personal writings and filled with private words. Well, in Tatiana's world there were no private words. All private thoughts you kept in your head as you lay down next to another person, even if that other person happened to be your sister. Leo Tolstoy, one of her favorite writers, wrote a diary of his life as a young boy, an adolescent, a young man. That diary was meant to be read by thousands of people. That wasn't the kind of diary Tatiana wanted to keep. She wanted to keep one in which she could write down Alexander's name and no one would read it. She wanted to have a room where she could say his name out loud and no one would hear it. Alexander. — Paullina Simons

For me to read a book is still
And always will be quite a thrill.
For me to read a book is like
A boy when he rides his new two wheel bike.
And when a bird comes north in spring
It's natural for her to sing.
I like to read books of poems and history
Books of fiction and of mystery.
And what is more, I'll read until I'm grown
And then I'll write books of my own. — Johanna Hurwitz

In my own life I studied music, not creative writing; I see a novel as music - an opening as an overture, themes and subplots as lines in a fugue. The chance to write a novel about a musician boxed in by all kinds of limitations but who plays out his ultimate struggle for freedom at the piano was irresistible. — Nicole Mones

One of my big revelations was that nobody cares whether you write your novel or not. They want you to be happy. Your parents want you to have health insurance. Your friends want you to be a good friend. But everyone's thinking about their own problems and nobody wakes up in the morning thinking, 'Boy, I sure hope Sam finishes that chapter and gets one step closer to his dream of being a working writer.' Nobody does that. If you want to write, it has to come from you. If you don't want to write, that's great. Go do something else. That was a very liberating moment for me. — Sam Lipsyte

My dad died, I write. almost a year ago. Car accident. My hand is shaking; my eyes sting and fill. I add Not his fault before pushing the notebook and pen back across the table, wiping a hand across my cheeks.
As he reads, my impulse is to reach out, grab the notebook, run outside, dump it in the trash, bury it in the snow, throw it under the wheels of a passing car - something, something, so I can go back fifteen seconds when this part ofme was still shut away and private. Then I look at Ravi's face again, and the normally white white whites of his eyes are pink. This causes major disruption to my ability to control the flow of my own tears. I see myself when I look at him right now: he's reflecting my sadness, my broken heart, back to me.
He takes the pe, writes, and slides it over. You'd think it's something epic from the way it levels my heart. It isn't.
I'm really sorry, Jill.
Four little words. — Sara Zarr