Setting In Writing Quotes & Sayings

The most important rules that I ever adopted to help me in achieving my goals were those I learned from a very successful man who taught me to first write down the goal, and then to never leave the site of setting a goal without first taking some form of positive action toward its attainment. — Tony Robbins

Years ago, when I was about to go on a book tour for Someplace to Be Flying, my editor at the time Terri Windling and I sat down to figure out what to call what I was writing for the interviews that were to come. Terri came up with the term mythic fiction and I think that sums it up perfectly. There are almost invariably mythic elements in my fiction (as well as bits of folk and faerie lore) and the term doesn't lock me into writing only in an urban setting since many of my stories take place in rural areas. It never caught on, but when I don't describe what I do as simply fiction, I'll go with mythic fiction. — Charles De Lint

In 'Twilight,' you're setting up the world. You're introducing the world, and I was also writing in a vacuum because I didn't know who the actors were going to be. Now you're going to 'New Moon' and 'Eclipse,' and I could write specifically to them in my mind. So it becomes a more comfortable world. — Melissa Rosenberg

I can sometimes gaze out of the window, at the sheep, ponies, grazing deer, and numerous woodland folk. It's a wonderful setting in which to write. I live on a dirt road, miles from anywhere, with no neighbors. — Raymond Buckland

Every writer has met with his words time and again. They have had frequent conversations. They have even flirted with each other. But there are those rare moments when the shadows and the naked bodies of the writer and the words, in one time frame of the story, in one setting of the story, are coupled. They become two lovers who have long known each other and who in their clandestine meetings have frequently concealed their longing for one another. — Shahriar Mandanipour

WATCH THAT QCD POSITION! While I was writing this book, I hosted a lighting seminar for neophyte photographers using cameras of all breeds, and out of 30 photographers in two sessions, no fewer than four Canon shooters were having trouble setting the aperture when using the Manual exposure mode I was having them use while working with studio flash units. (Each of them rarely used Manual.) All four had accidentally set the QCD switch to Lock (if they were 7D owners) or to the On (only) position (if they were 50D or 40D users), disabling the Quick Control Dial. I expect that this happens more frequently than I suspected, so I'm calling it to your attention once more in these two sidebars. — David D. Busch

When a place comes across vividly in a novel, it's often compared to a character. I can remember writing teachers who encouraged me to treat setting as if it were a character, to give it three dimensions, to make it come alive, jump off the page. — Kaui Hart Hemmings

I love a mysterious underground and have exploited this in many of my books: the ice tunnels of Greenland, the volcanic tubes of Iceland, the mysterious passageways beneath an ancient African hillside or a Buddhist monastery in central China. And of course, London's famous tube system, setting for my book LONDON UNDERGROUND. It's a funny sort of fixation, especially given my mother's claustrophobia, which I saw her deal with on many occasions. We once lined up to take a tour into the Lascaux Caverns in France to see the ancient cave paintings. My mother didn't make it past the first quirky turn into the depths, and she sent me on by myself. Given her interest in history and archaeology, which she used as the basis for a series of mysteries she published and which inspired my own writing, it always surprised me she still loved to write about places she could never visit. — Chris Angus

I am the man who comes and goes between the bar and the telephone booth. Or, rather:that man is called 'I' and you know nothing else about him, just as this station is called only 'station' and beyond it there exists nothing except the unanswered signal of a telephone ringing in a dark room of a distant city. — Italo Calvino

Your story is not a picture of life; it lacks the elements of truth. And why? Simply because you run straight on to the end; because you do not analyze. Your heroes do this thing or that from this or that motive, which you assign without ever a thought of dissecting their mental and moral natures. Our feelings, you must remember, are far more complex than all that. In real life every act is the
resultant of a hundred thoughts that come and go, and these
you must study, each by itself, if you would create a living
character. 'But,' you will say, 'in order to note these fleeting
thoughts one must know them, must be able to follow them in their capricious meanderings.You have simply to make use of hypnotism, electrical or human, which gives one a two-fold being, setting free the witness-personality so that it may see, understand, and remember the reasons which determine the personality that acts. — Jules Verne

I want to get into producing and writing more for myself - setting up my own films and seeing what kind of personal touch I can put on movies, as opposed to just being in them. — Kenan Thompson

In my art history degree course, we did a module on palimpsests - medieval sheets of parchment so costly that, once the text was no longer needed, the sheets were simply scraped clean and reused, leaving the old writing faintly visible through the new. Later, Renaissance artists used the word pentimenti, repentances, to describe mistakes or alterations that were covered with new paint, only to be revealed years or even centuries later as the paint thinned with time, leaving both the original and the revision on view.

Sometimes I have a sense that this house - our relationship in it, with it, with each other - is like a palimpsest or pentimento, that however much we try to overpaint Emma Matthews, she keeps tiptoeing back: a faint image, an enigmatic smile, stealing its way into the corner of the frame. — J.P. Delaney

When I am writing a novel, the setting, the characters, the action is clear in mind when I start -- so I believe. But it is only when these imaginings are written down, passing it seems almost physically from my brain down the arm to my moving hand that they begin to live and move and have their being and assume a different kind of truth. — P.D. James

From time to time I think of describing the "German", or defining his "typical" existence. Probably that isn't possible. Even when I sense the presence of such a thing, I am unable to define it. What can I do, apart from writing about individuals I meet by chance, setting down what greets my eyes and ears, and selecting from them as I see fit? The describing of singularities within this profusion may be the least deceptive; the chance thing, plucked from a tangle of others, may most easily make for order. I have seen this and that; I have tried to write about what stuck in my senses and my memory. — Joseph Roth

A lot of my words come to me when I'm out and about as well, riding the bus or sat in the pub. I went through a stage of going to a strip bar called the White Horse at lunch times and did a lot of writing in there. They were fine with that but I don't know how they would feel about me setting up the easel. — Danny Fox

What I see as the particularly exciting prospect for writing horror fiction as we go forward is setting stories in more internal landscapes than external ones, mapping out the mind as the home for scary things instead of the house at the end of the lane or lakeside campground or abandoned amusement park. — Andrew Pyper

When I illustrate a cover or a book, I draw upon what the author tells me; that's how I see my responsibility as an illustrator. J.K. Rowling is very descriptive in her writing - she gives an illustrator a lot to work with. Each story is packed full of rich visual descriptions of the atmosphere, the mood, the setting, and all the different creatures and people. She makes it easy for me. The images just develop as I sketch and retrace until it feels right and matches her vision. — Mary Grandpre

What the young writer needs to develop, to achieve his goal of becoming a great artist, is not a set of aesthetic laws but artistic mastery. He cannot hope to develop mastery all at once; it involves too much. But if he pursues his goal in the proper way, he can approach it much more rapidly than he would if he went at it hit-or-miss, and the more successful he is at each stage along the way, the swifter his progress is likely to be. Invariably when the beginning writer hands in a short story to his writing teacher, the story has many things about it that mark it as amateur. But almost as invariably, when the beginning writer deals with some particular, small problem, such as description of a setting, description of a character, or brief dialogue that has some definite purpose, the quality of the work approaches the professional. Having written some small thing very well, he begins to learn confidence. — John Gardner

Set goals that are well balanced-not too many nor too few, and not too high nor too low. Write down your attainable goals and work on them according to their importance. Pray for divine guidance in your goal setting. — M. Russell Ballard

He must shape simultaneously (in an expanding creative moment) his characters, plot, and setting, each inextricably connected to the others; he must make his whole world in a single, coherent gesture, as a potter makes a pot ... — John Gardner

Writing out your goals is the first action in a chain of many on the road to achievement. — John Patrick Hickey

Who is setting the bar for what you call accessibility? The definition of "accessible" is "easy to understand," and so much of the fiction I love is just ... not that. It is complex and rich and sometimes puzzling, and it stays with me precisely because I can't quite wrap my head around it. Sometimes it is lucid and approachable on the surface, and other times the language is congested in order to fire up strong sensations. Accessibility is such a strange, sad measure of the writing I love. Dora the Explorer is accessible. The Unconsoled is not. But I have never been deliberately difficult, if that's what you're getting at. That has no appeal to me. I've always tried to write the fiction that compels me the most - I have to feel passionate, engaged, and nearly desperate if I'm going to get anything done. When I'm working on material that is conceptual or abstract or in some way difficult, I strive for clarity, transparency, a vivid attack. — Ben Marcus

The purple haze of the wych elms; the blue flash of a kingfisher's wings; the statuesque rightness of the milch cows in that green place chomping on the rich flood-grass. — Ronald Frame

For a feature in next month's issue of Prog magazine, the photographer spent many hours setting up a photo shoot of me with part of my music collection in my writing office. Since I do most of my writing outside in nature, we felt this shot was most representative. — Kevin J. Anderson

Once people grasp that the events of the Messiah's death and resurrection have transformed everything and that they are now living between that initial explosive event and God's final setting right of the world (when God is "all in all"), then everything will change: belief, behavior, attitudes, expectations, and not least a new love, a real sense of belonging, which springs up among those who share all this. That is what so much of Paul's writing is about. — N. T. Wright

Every time I lock my people in a spacecraft or land them on an asteroid, the blood wells up again, and I'm writing horror. Horror's my default setting. It's also where I prefer to write. — Stephen Graham Jones

It's been a very interesting exercise as a writer - writing a little family group, like The Incredibles or The Simpsons or something like that, and setting it in a big Star Wars-type setting. It's been really fun, definitely different from the kind of thing I normally do. — Mark Millar

For me, writing stories set, well, wherever they're best set, is a form of cultural curiosity that is uniquely Scottish - we're famous for travelling in search of adventure. — Sara Sheridan

Some creative writing programs seem evil, but my experience at Irvine was totally the opposite, where I feel like they were really good at focusing in on each writers voice and setting. When I felt like I was obligated to write a story that was more typical, no one really liked it. — Aimee Bender

After all, reading is arguably a far more creative and imaginative process than writing; when the reader creates emotion in their head, or the colors of the sky during the setting sun, or the smell of a warm summer's breeze on their face, they should reserve as much praise for themselves as they do for the writer - perhaps more. — Jasper Fforde

The novel was set in an unspecified near future, because setting a novel in the present in a time of unprecedented technological and social dislocation seemed to me shortsighted ... To write a book set in the present, circa 2013, is to write about the distant past. — Gary Shteyngart

I think of it as the lasagna approach to writing because I'm always adding layers. I'll sometimes do it layer by layer, with dialogue, attribution, action, objects in the scene, setting ... It can be sometimes that delineated. — Chelsea Cain

A romance is never just a romance, there's adventure, mystery and movement.

You need a grand, dramatic setting - the Swiss Alps were always an personal favourite of mine - and a chance meeting, on a train, a cruise, or perhaps the hero and heroine find themselves shipwrecked on a desert island.

The men are normally rich, well-to-do - but never vulgar with their money. Young men lack the maturity to take control so an older man is essential to provide the reassurance the heroine's needs.

There's always a fair amount of turbulence before he sweeps in to save the day. A happy ending is an absolute must. — Ida Pollock

What people like are things to laugh at. Funny shows. It's all in the execution, the writing and the characters, not the setting. And the writing and the execution and the characters are GREAT on (Everybody Loves Raymond). — Joe Rogan

In the detective story, as in its mirror image, the Quest for the Grail, maps (the ritual of space) and timetables (the ritual of time) are desirable. Nature should reflect its human inhabitants, i.e., it should be the Great Good Place; for the more Eden-like it is, the greater the contradiction of murder. The country is preferable to the town, a well-to-do neighborhood (but not too well-to-do-or there will be a suspicion of ill-gotten gains) better than a slum. The corpse must shock not only because it is a corpse but also because, even for a corpse, it is shockingly out of place, as when a dog makes a mess on a drawing room carpet."

(The guilty vicarage: Notes on the detective story, by an addict, Harper's Magazine, May 1948) — W. H. Auden

To write a genuine familiar or truly English style, is to write as any one would speak in common conversation who had a thorough command and choice of words, or who could discourse with ease, force, and perspicuity, setting aside all pedantic and oratorical flourishes. — William Hazlitt

You don't understand that one can be an atheist, one can not know whether God exists or why, and at the same time know that man does not live in nature but in history, and that in present-day understanding it was founded by Christ, that its foundation is the Gospel. And what is history? It is the setting in motion of centuries of work at the gradual unriddling of death and its eventual overcoming. Hence the discovery of mathematical infinity and electromagnetic waves, hence the writing of symphonies. It is impossible to move on in that direction without a certain uplift. These discoveries call for spiritual equipment. The grounds for it are contained in the Gospel. They are these. First, love of one's neighbor, that highest form of living energy, overflowing man's heart and demanding to be let out and spent, and then the main component parts of modern man, without which he is unthinkable
namely, the idea of the free person and the idea of life as sacrifice. — Boris Pasternak

Attributing to another author, Writing a novel is like setting a goal and walking there in your sleep. — Karl Ove Knausgard

Writing out a goal allows us to see it in words. It creates a statement that does not change; it is something that we can go back to repeatedly for direction and clarity. — John Patrick Hickey

I think I have a God complex, and I like moving mountains and writing stories that affect entire worlds, and it's a bit hard to do that in a contemporary setting because you have reality intruding. Whereas, when you set your own reality, you can make up your own rules and do whatever you like. — Jennifer Fallon

I am called to listen to the sound of my own heart
to write the story within myself that demands to be told at that particular point in my life. And if I do this faithfully, clothing that idea in the flesh of human experience and setting it in a true place, the sound from my heart will resound in the reader's heart. — Katherine Paterson

For whatever reason, thus far it's been important to me not to write that kind of collection. Which means that I've spent months playing tic-tac-notecard, trying to get the stories in an order whereby stories that are similar in any given way (diction, narrative stance, setting, plot) are separated by others that aren't. — Roy Kesey

The secret to productive goal setting is in establishing clearly defined goals, writing them down and then focusing on them several times a day with words, pictures and emotions as if we've
already achieved them. — Denis Waitley

You've got to be committed. It comes down to setting yourself goals as an individual. In rugby you have team goals that you strive for, but you also set yourself simple goals that are achievable. It helps to write them down so you understand what you need to do, and what your focus is. Put them on your wall, then each time you wake up, you'll see them. Then you can just tick them off once you've achieved them. — Filo Tiatia

Setting is a major aspect in writing all of my books, both in terms of natural and cultural environments. — Nicholas Sparks

You can't top that remark for hypocrisy or the setting for irony. It isn't the middle class who write $32,500 checks. Those who do expect something in return. They've been getting it. — Jack Kelly

Even if chords are simple, they should rub. They should have dissonances in them. I've always used a lot of alternate bass lines, suspensions, widely spaced voicings. Dfferent textures to get very warm chords. Sometimes you're setting up strange chords by placing a chord in front of it that's going to set it off like a diamond in a gold band. It's not just finding interesting chords, it's how you sequence them, like stringing together pearls on a string ... Interesting chords will compel interesting melodies. It's very hard to write a boring melody to an interesting chord sequence. — Jimmy Webb

From my years of teaching creative writing, I know that new writers take the setting for granted, as simply a place to set the action, but setting is a vital element in fiction writing and deserves serious treatment. — Garry Disher

A mistake is the name we give to any action in which we perceive a difference between what we intended and what has occurred. Intention fuels every dramatic action, including the writing of dramatic stories, which involves a series of dramatic actions. In the course of writing, or finding, the story that wants to get itself told, it behooves the writer to liberate the characters by finding the faith and courage necessary for setting aside one's own conscious needs and expectations. Not to do so promotes 'mistakes' - i.e: confusion born of some incoherence in the emotional logic of the story). As the writer abandons his/her intentions - no matter how noble they may seem - only then does that most strange and ineffable quality we so casually refer to as 'the magic' have a chance of entering the story, and rendering even the 'mistakes' stimulating, daring and provocative. — Billy Marshall Stoneking

In 2011, I did an internship in Seven Dials, a junction in London where seven roads come together. I'd given up on writing after multiple rejections for my first novel, and I was starting to consider a career in publishing instead, but Seven Dials gave me such a strong idea for a setting that I couldn't resist picking up my pen again. — Samantha Shannon

I don't know'," he said. "Those three words from a willing soul are the start of a grand and magnificent voyage." And with that he began a discourse that lasted for several weeks, covering scene-setting, establishing conflict, plot twists, and first- and third-person narration. [ I learned in these rapid-fire mini-dissertations that like most literature lovers I would come to know, Henry was a book snob. He assumed that if a current author was popular and widely enjoyed, then he or she had no merit. He made a few exceptions, such as Kurt Vonnegut, although that was mostly because Vonnegut lived on Cape Cod and so he probably had some merits as a human being, if not as a writer.
I think that the way Henry saw it was that he was not being a snob. In fact I would venture that in his view of things, snobbery had nothing to do with it. Rather, it was a matter of standards. It was bout quality in the author's craftsmanship. — John William Tuohy

Woolf worried about the childlessness from time to time, and suffered from the imposed anxiety that she was not, unlike her friend Vita Sackville-West, a real woman. I do not know what kind of woman one would have to be to stand unflinchingly in front of The Canon, but I would guess, a real one. There is something sadistic in the whip laid on women to prove themselves as mothers and wives at the same time as making their way as artists. The abnormal effort that can be diverted or divided. We all know the story of Coleridge and the Man from Porlock. What of the woman writer and a whole family of Porlocks?
For most of us the dilemma is rhetorical but those women who are driven with consummate energy through a single undeniable channel should be applauded and supported as vigorously as the men who have been setting themselves apart for centuries. — Jeanette Winterson

The most difficult part of writing a book is not devising a plot which will captivate the reader. It's not developing characters the reader will have strong feelings for or against. It is not finding a setting which will take the reader to a place he or she as never been. It is not the research, whether in fiction or non-fiction. The most difficult task facing a writer is to find the voice in which to tell the story. — Randy Pausch

For example, I keep all my actual writing in the Manuscript section divided by chapter, and then, in the research section, I have folders for Setting, Characters, and Plot with a separate area for my cuts file (where I put big blocks of text that I've cut out of the story but can't bring myself to delete yet) and my writing worksheet, which is the table I use to keep track of my word counts. — Rachel Aaron

Setting down in writing, is a lasting memory. — Henry Fielding

It wasn't long after I began writing Star Wars that I realized the story was more than a single film could hold. As the saga of the Skywalkers and Jedi Knights unfolded, I began to see it as a tale that could take at least nine films to tell - three trilogies - and I realized, in making my way through the back story and after story, that I was really setting out to make the middle story. — George Lucas

I have spent my life on the road waking in a pleasant, or not so pleasant hotel, and setting off every morning after breakfast hoping to discover something new and repeatable, something worth writing about. — Paul Theroux