Writing A Woman's Life Quotes & Sayings

Beautiful Lies is a book every woman should read. Jennifer Strickland weaves the powerful story of her life throughout each chapter while emphasizing transformational truths from God's Word. Her vulnerability, exquisite writing style, and practical take-home applications make this book the ideal choice for personal or for small group use. — Carol Kent

I started my career in journalism and researched outlaw motorcycle club culture extensively for my stories. This included talking to people in club life, many of whom answered questions for me throughout the writing process. The Reaper's Legacy manuscript was reviewed and corrected by a woman attached to an outlaw MC. — Joanna Wylde

You know, one of the interesting things you find about writing fiction is that any fiction you write has to be political. Otherwise, it goes into the realm of fantasy. So like, if you write about a woman in America in 1910, if you don't write that she can't really control her property, that she can't - doesn't have any say over her children, that she can't vote - if you don't put that in it, then it's a fantasy. Like, well, how is her life informed? That's true about everybody. If you write about black people, you write about white men, I mean, it has to be political. A lot of people don't realize that, it seems. — Walter Mosley

It starts with the writing. We have to think of all these characters - we have to treat them all equally. We have to think of them as having an interior life and having motivations. When I'm drawing female characters, I'm looking for that. I'm looking for subtext. I'm looking for ways to make the reader relate to them in a way that goes beyond the pure aesthetic value. You know, just drawing an attractive woman really gets kind of boring after a while. — Cliff Chiang

I begin my life. I live again. I meet a young girl called Valeria. She smiles easily. She laughs tender sounds that pull at my heart. I'm too young to be profound but she makes me feel so safe. So cherished. I am thirty years old. I bump into a woman I knew when she was a girl. Valeria looks annoyed to see me. She lives in the future. Where the world is turning. I live within the past. Where the people are trapped and screaming and alone. I live within the past when Valeria and I were in love. She's waiting for the cab to come, her foot tapping against the sidewalk. Her eyes glancing at her watch every few minutes. I'm eager to reunite our lives through some kind of friendship. I'm so eager to know her again, as she was when she was a child. But Valeria lives within the future. I live within the past. Have the two ever gotten along? Have they ever even met? — F.K. Preston

It galls me that seeking out the seedy, the sordid, the sexual, and the deviant is the expected (if not altogether acceptable) behavior of male writers; it would surely benefit me, as a writer, if I had the courage to seek out more of the seedy, the sordid, the sexual, and the deviant myself. But women who seek out such things are made to feel ashamed, or else they sound stridently ridiculous in defending themselves
as if they're bragging ... Yet there are subjects that remain off-limits for women writers. It's not unlike that dichotomy which exists regarding one's sexual past: it is permissible, even attractive, for a man to have had one, but if a woman has had a sexual past, she'd better keep quiet about it. — John Irving

I began to write poetry again in 1975, when I fell in love with another woman. I returned to poetry not because I had "become a lesbian" - but because I had returned to my own body after years of alienation. The sensual details of life are the raw materials of a poet - and with that falling-in-love I was able to return to living fully in my own fleshly self. — Minnie Bruce Pratt

Everyone thinks I have a coffee plantation in Sierra Leone, but I have a cashew crop project. I wrote about a woman who owns a coffee plantation! When you are talking about a woman writer coming from a hot country, there's a complete assumption that she is writing about her own life. — Aminatta Forna

In the course of four hours, I watched my brain completely deteriorate in its ability to process all information. On the morning of the hemorrhage, I could not walk, talk, read, write or recall any of my life. I essentially became an infant in a woman's body. — Jill Bolte Taylor

Writing is my passion. Words are the way to know ecstasy. Without them life is barren. The poet insists, language is a body of suffering and when you take up language you take up the suffering too. All my life I have been suffering for words. Words have been the source of the pain and the way to heal. Struck as a child for talking, for speaking out of turn, for being out of my place. Struck as a grown woman for not knowing when to shut up, for not being willing to sacrifice words for desire. Struck by writing a book that disrupts. There are many ways to be hit. Pain is the price we pay to speak the truth. — Bell Hooks

What's a TH?"
"A Traffic Hazard," Heeb clarified.
"Oh you mean because the woman is so hot she'll take your eyes off the road?" Narc confirmed.
"Exactly. — Zack Love

On the day my daughter was born, I started writing a book for her. The plan was that, over the course of her life, I'd fill it with advice on how to be a strong woman. But along the way, I got caught up in the stories of Amelia Earhart, Sally Ride, and so many others. So how do you pick the best heroes for your kids? — Brad Meltzer

If a book has a predictable storyline or familiar situations, there's little satisfaction for me in writing it. A woman deciding which man she'll spend her life with? I've read that story a million times, but a stepmother deciding which of her children she'll save in a freak accident? Now that's a challenge. — Jillian Medoff

When I met a truly beautiful girl, I would tell her that if she spent the night with me, I would write a novel or a story about her. This usually worked; and if her name was to be in the title of the story, it almost always worked. Then, later, when we'd passed a night of delicious love-making together, after she'd gone and I'd felt that feeling of happiness mixed with sorrow, I sometimes would write a book or story about her. Sometimes her character, her way about herself, her love-making, it sometimes marked me so heavily that I couldn't go on in life and be happy unless I wrote a book or a story about that woman, the happy and sad memory of that woman. That was the only way to keep her, and to say goodbye to her without her ever leaving. — Roman Payne

In writing the short novel Fahrenheit 451 I thought I was describing a world that might evolve in four or five decades. But only a few weeks ago, in Beverly Hills one night, a husband and wife passed me, walking their dog. I stood staring after them, absolutely stunned. The woman held in one hand a small cigarette-package-sized radio, its antenna quivering. From this sprang tiny copper wires which ended in a dainty cone plugged into her right ear. There she was, oblivious to man and dog, listening to far winds and whispers and soap-opera cries, sleep-walking, helped up and down curbs by a husband who might just as well not have been there. This was not fiction. — Ray Bradbury

When I began writing The Night Bookmobile, it was a story about a woman's secret life as a reader. As I worked it also became a story about the claims that books place on their readers, the imbalance between our inner and outer lives, a cautionary tale of the seductions of the written word. It became a vision of the afterlife as a library, of heaven as a funky old camper filled with everything you've ever read. What is this heaven? What is it we desire from the hours, weeks, lifetimes we devote to books? What would you sacrifice to sit in that comfy chair with perfect light for an afternoon in eternity, reading the perfect book, forever? — Audrey Niffenegger

But it's hard for me to pinpoint where all my characters and dialogue come from - imagination or real life. My memoir, of course, was all about my past, and many of the short stories cleave very closely to my life, but the more stories I wrote in the collection, the more that seemed to be invented, but who knows ... I think I'm writing about a young woman with acne who shoplifts, but I'm really writing about myself. — Said Sayrafiezadeh

Finally, I began to write about becoming an older woman and the trepidation it stirred. The small, telling "betrayals" of my body. The stalled, eerie stillness in my writing, accompanied by an ache for some unlived destiny. I wrote about the raw, unsettled feelings coursing through me, the need to divest and relocate, the urge to radically simplify and distill life into a new, unknown meaning. — Sue Monk Kidd

I have tried to write stories that go into the underworld of myth and bring out life and fire - where the old world looked at a woman alone and immortal and said: she must long to die, I have tried to say: look at her live! — Catherynne M Valente

I was lonely, deadly lonely. And I was to find out then, as I found out so many times, over and over again, that women especially are social beings, who are not content with just husband and family, but must have a community, a group, an exchange with others. Young and old, even in the busiest years of our lives, we women especially are victims of the long loneliness.
It was years before I woke up without that longing for a face pressed against my breast, an arm about my shoulder. The sense of loss was there.
I never was so unhappy, never felt so great the sense of loneliness. No matter how many times I gave up mother, father, husband, brother, daughter, for His sake, I had to do it over again.
Tamar is partly responsible for the title of this book in that when I was beginning it she was writing me about how alone a mother of young children always is. I had also just heard from an old woman who lived a long and full life, and she too spoke of her loneliness — Dorothy Day

I write because I am alone and move through the world alone. No one will know what has passed through me ... I write because there are stories that people have forgotten to tell, because I am a woman trying to stand up in my life ... I write out of hurt and how to make hurt okay; how to make myself strong and come home, and it may be the only real home I'll ever have. — Natalie Goldberg

I can be a woman on a mission. But I'll choose what mission that is. And that my friend is where youll see the results. — Kia Carrington-Russell

The trajectory of my writing has moved further and further away from autobiography. My first stories in Confessions of a Falling Woman worked familiar territory - places I had lived, people I knew, my life as an actor in New York - and many were prompted by or grounded in personal experience. — Debra Dean

But when I realized it was actually going to be this portrait of the artist, birth to death, I had to then discover who Margaret as a young woman would be. I had to find the different voices for her throughout her life. I had a lot of fun discovering that. I had a lot of fun writing the childhood sections. By imagining her childhood, I was able to come up with this voice that matures as she gets older. — Danielle Dutton

Something about the turbulence of adolescence makes you want to do something creative ... I thought as I got older I would stop writing about it, but I find adolescence, and popular depictions of it, very interesting. I like to see where my own life intersects or diverges from notions of what a teenager is supposed to be, or what a black person is supposed to be, or a woman. — Allison Joseph

There is much pain that is quite noiseless; and vibrations that make human agonies are often a mere whisper in the roar of hurrying existence. There are glances of hatred that stab and raise no cry of murder; robberies that leave man or woman forever beggared of peace and joy, yet kept secret by the sufferer - committed to no sound except that of low moans in the night, seen in no writing except that made on the face by the slow months of suppressed anguish and early morning tears. Many an inherited sorrow that has marred a life has been breathed into no human ear. — George Eliot

Try being an indie author, a minority author, a woman, and a person with health issues in the world of traditional - that's where you are clearly 'different' and marginalized. I am all of that, yet I am still here and smiling. Life is good! — Kailin Gow

Of course, if I write a first-person novel about a woman writer, I am inviting every book reviewer to apply the autobiographical label
to conclude that I am writing about myself. But one must never not write a certain kind of novel out of fear of what the reaction to it will be. — John Irving

I sometimes think if I did not write I would be a madwoman. Now I am a sane woman with a lot of mad pages. — Kendall Hailey

When the plot is discovered no one suspects him and he remains close to Rosas for a while, then decides to flee, even though his life is not really in danger; he takes refuge in the house of his cousin Amparo Escalada. He lives hidden in the cellar of her house for some six months. The woman will have a son by him, a child Ossorio will never know. In 1842 he crosses to Montevideo. The exiles are fearful; they think he is a double agent. Isolated and disillusioned with politics, he goes to Brazil, where he settles in Rio Grande do Sul, lives with a black woman slave, and devotes himself to writing poetry and contracting syphilis. — Ricardo Piglia

And when we are writing the life of a woman, we may, it is agreed, waive our demand for action, and substitute love instead. Love, the poet has said, is woman's whole existence. And if we look for a moment at Orlando writing at her table, we must admit that never was there a woman more fitted for that calling. Surely, since she is a woman, and a beautiful woman, and a woman in the prime of life, she will soon give over this pretence of writing and thinking and begin at least to think of a gamekeeper (and as long as she thinks of a man, nobody objects to a woman thinking). And then she will write him a little note (and as long as she writes little notes nobody objects to a woman writing either) and make an assignation for Sunday dusk and Sunday dusk will come; and the gamekeeper will whistle under the window
all of which is, of course, the very stuff of life and the only possible subject for fiction. — Virginia Woolf

Be wary of feeling as through there is not enough room at the table. Oftentimes a female Chinese-American might feel as through she is in competition with another Chinese-American woman writer of the same generation. A writer friend of mine calls it the "There Can Only Be One ... " syndrome. This isn't "Survivor." The more good writers, of all walks of life and all ethnicities and persuasions, the better. — ZZ Packer

The Dream Lover is a historical novel at once expansively researched yet intimately imagined. George Sand may be the ultimate Berg heroine. 'A life not lived in truth,' Berg writes, 'is a life forfeited.' In this latest work, Elizabeth Berg has poured her own great gifts and her own great heart into the story of a woman determined to refuse any such forfeiture, no matter the cost. — Leah Hager Cohen

In 1927 she became, and would forevermore remain, the "It Girl." "It" was first a two-part article and then a novel by a flame-haired English novelist named Elinor Glyn, who was known for writing juicy romances in which the main characters did a lot of undulating ("she undulated round and all over him, twined about him like a serpent") and for being the mistress for some years of Lord Curzon, former viceroy of India. "It," as Glyn explained, "is that quality possessed by some few persons which draws all others with its magnetic life force. With it you win all men if you are a woman - and all women if you are a man. — Bill Bryson

And how long would the life in me stay alive if it did not find new roots?
I behaved like a starving man who knows there is foot somewhere if he can only find it. I did not reason anything out. I did not reason that part of the food I needed was to become a member of a community richer and more various, humanly speaking, than the academic world of Cambridge could provide: the hunger of the novelist. I did not reason that part of the nourishment I craved was all the natural world can give - a garden, woods, fields, brooks, birds: the hunger of the poet. I did not reason that the time had come when I needed a house of my own, a nest of my own making: the hunger of the woman. — May Sarton

Monsoon Love is a love story with a few comic twists. The idea for this story came to me when I went into the local town of Pokhara with a friend to buy his son a birthday present. We had just arrived at the shops when a heavy down pour began, and as we had arrived on his motorbike and didn't have raincoats or umbrellas so we had to wait for the rain to stop. We were standing under a awning watching the street while we waited, and I noticed this very beautiful young woman walk past me dressed in a t-shirt and jeans with the cuffs rolled half up her legs, but the way she held her umbrella made it impossible to see her face, though with the nice body she had her face must have been just as lovely. Then I though, imagine some guy stuck working in an office, and seeing a view like that every day of the same woman, and falling in love with her despite not seeing her face. — Andrew James Pritchard

Long before I became a feminist in any explicit way, I had turned from writing love stories about women in which women were losers, and adventure stories about men in which the men were winners, to writing adventure stories about a woman in which the woman won. It was one of the hardest things I ever did in my life. — Joanna Russ

At the end of the day I have many answers for it. It has to do with my mom, who was an extraordinary woman, and a great feminist. It has to do with the people in my life. It has to do with a lot of different things, but
I don't know! Because I'm not just writing from the female characters for other people. I have a desire to see them in our culture
that was not met for most of my childhood. Except occasionally by James Cameron.
[From the 2011 San Diego Comic Con, in response to being asked why he writes strong female characters.] — Joss Whedon

I was going after a woman believing that the key is in being with her. But the key is in writing about her. The key is in words and words are in me. Longing for her is just an impulse for words to come out. And the whole purpose is for words to come out. Words are important. Words about love. About life. — Stevan V. Nikolic

That woman must have been a husky in a previous life. — Mary Papas

The entirety of 'Bellocq's Ophelia' was a project, and I was interested in doing research and looking at photographs and writing about them, imagining this woman Ophelia and what her life was like and the kinds of things she thought about. — Natasha Trethewey