Writing That Tells Quotes & Sayings

Everyone tells you to write what you know. It's the tried-and-true advice every writer hears at some point in her career. But to take my writing to a deeper level, I've found that a better practice is to simply write what frightens you, haunts you, even. I now keep a sign on the bulletin board in my office that reads: 'Write What Scares You.' I've learned that tapping into the hard stuff - whether it's the fear of loss or a boogeyman lurking in childhood memories - is what ultimately gives a story the power to leap off the page and grab you by the collar. — Sarah Jio

I'm 100 percent original, and that's what got me here. My rap music is more understandable, slower. It tells a story. You can write a book on each of my thoughts. — Tupac Shakur

12/18/89 Calvin asks Hobbes if he'll help him write a book. Calvin says this book will be like historical fiction. He's writing a fictional autobiography. He tells Hobbes it's the story of his life with a lot of parts completely made up. Hobbes asks why he'd want to make up his whole life. Calvin replies that in his book, he has a flame thrower. — Steve Kurtz

Studying the world's oldest writing for the first time compels you to wonder about what writing is and how it came about more than five thousand years ago and what the world might have looked like without it.

Writing as I would define it serves to record language by means of an agreed set of symbols that enable a message to be played back like a wax cylinder recording.

The reader's eye runs over the signs and tells the brain how each is pronounced and the inner message springs into life. — Irving Finkel

Who but You, could breath and leave a trail of galaxies, and dream of me? What kind of love, is writing my story till the end, with Mercies pen? Only You. What kind of King, would chose to wear a crown that bleeds and scars, to win my heart? What kind of love, tells me I'm the reason He can't stay, inside the grave? You. Is it You? Stand here before my eyes, every part of my heart cries, ALIVE! ALIVE! Look what Mercy's overcome, death has lost and Love has won. Alive! Alive! Hallelujah, Risen Lord, The only one I fall before, I am His because He is, ... Alive! — Natalie Grant

I write a lot from instinct. But as you're writing out of instinct, once you reach a certain level as a songwriter, the craft is always there talking to you in the back of your head ... that tells you when it's time to go to the chorus, when it's time to rhyme. Real basic craft ... it's second nature. — Janis Ian

I think that sense of unreality inspired me to write the story within the book that [August] Brill tells himself, one of the stories he tells himself. — Paul Auster

I think it's really hard to make songs that pursue an agenda. You can kind of do it a little bit through a character, so the character gives voice to something or their story, the story of the character tells you something, but, for me anyway, it's really hard to write directly about politics. — David Byrne

Definition of a Writer: One who tells stories that demand to be told. — Ana Patrick

Fear is good. Like self-doubt, fear is an indicator. Fear tells us what we have to do.
Remember our rule of thumb: The more scared we are of a work or calling, the more sure we can be that we have to do it.
Resistance is experienced as fear; the degree of fear equates to the strength of Resistance. Therefore the more fear we feel about a specific enterprise, the more certain we can be that that enterprise is important to us and to the growth of our soul. That's why we feel so much Resistance. If it meant nothing to us, there'd be no Resistance. — Steven Pressfield

Some people are born with an ear for music, some people are born with a talent for drawing, some people...have a built-in radar that tells them where a comma needs to go in a sentence. — Krystal Sutherland

Every writer must find a way of writing that tells the reader: This is me and no one else. The Voice can be idiosyncratic, but it cannot be obscure. It is a blend of style and content and intent and rhythm and pure personality. — Jeff Lindsay

I am writing this book so the doers, the drivers, and the hard
workers out there will have a Step-By-Step ultra-practical
guide that will teach the specific action steps one must take to
start and grow a successful business. If you take action and do
everything this book tells you to do, you will make millions. If
you just intend on doing everything in this book you will make
a mediocre living or you will be poor and it will be your own
fault. — Clay Clark

English teachers, workshops, and myths try to make writers slow down. We are the ONLY ART on the planet that tells young artists to not practice and do less to get better. Head-shaking in its stupidity. And new writers buy into that. — Dean Wesley Smith

Let us narrow the arguments down further. In certain respects, the theme of supplementarity is certainly no more than one theme among others. It is in a chain, carried by it. Perhaps one could substitute something else for it. But it happens that this theme describes the chain itself, the being-chain of a textual chain, the structure of substitution, the articulation of desire and of language, the logic of all conceptual oppositions taken over by Rousseau ... It tells us in a text what a text is, it tells us in writing what writing it, in Rousseau's writing it tells us Jean-Jacque's desire etc ... the concept of the supplement and the theory of writing designate textuality itself in Rousseau's text in an indefinitely multiplied structure - en abyme. — Jacques Derrida

Well, Betsy," he said, "your mother tells me that you are going to use Uncle Keith's trunk for a desk. That's fine. You need a desk. I've often noticed how much you like to write. The way you eat up those advertising tablets from the store! I never saw anything like it. I can't understand it though. I never write anything but checks myself. "
"Bob!" said Mrs. Ray. "You wrote the most wonderful letters to me before we were married. I still have them, a big bundle of them. Every time I clean house I read them over and cry."
"Cry, eh?" said Mr. Ray, grinning. "In spite of what your mother says, Betsy, if you have any talent for writing, it comes from family. Her brother Keith was mighty talented, and maybe you are too. Maybe you're going to be a writer."
Betsy was silent, agreeably abashed.
"But if you're going to be a writer," he went on, "you've got to read. Good books. Great books. The classics. — Maud Hart Lovelace

The way that I write songs is pretty simple. I hear music first, much like you would when you're scoring a film. I usually hear a soundtrack in my head, and after I get that soundtrack, it tells me what it's about, what it feels like, what the emotion is, and the words come after. — Lauren Hart

Donna E. Smyth - adventures with words; she is always doing something new and unique. Beginning with her visceral morality, her stories are startling, nerve wracking, provocative: she combines Angela Carter's beautiful style with Patricia Highsmith's malevolent atmospheres. Smyth shatters clichs and dismisses mere sociology. She knows that pleasure is besieged by terror. She tells us what we don't want to know, but need to know. Smyth's writing disturbs us, enrichingly, because truth can never be at peace with language. — George Elliott Clarke

Nobody tells young writers it's okay if you're not very good, you'll get better. So I just thought I'm not very good, so I should try to do every other thing besides writing. That's how I ended up being a hitchhiker, a world traveler, and a mathematician. — Bonnie Jo Campbell

There's an episode of Buffy the Vampire Slayer that I've been thinking about a lot while writing this essay. In it, Buffy sacrifices her own life to save her sister, and right before she does, she tells her sister that the hardest thing to do in the world is to live - ironic words coming from someone about to kill herself for the greater good. As I'm writing this, I just keep thinking that Katniss never gets to sacrifice herself. She doesn't get the heroic death. She survives - and that leaves her doing the hardest thing in the world: living in it once so many of the ones she loves are gone. — Jennifer Lynn Barnes

That you're so bound up about writing tells me that writing is what you're here to do. And when people are here to do that, they almost always tell us something we need to hear. I want to know what you have inside you. I want to see the contours of your second beating heart. So write, Elissa Bassist. Not like a girl. Not like a boy. Write like a motherfucker. Yours, — Cheryl Strayed

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

When I write songs I write for myself ... I'm writing it as a form of expression, and hoping to find an audience, an audience that responds to music that is honest and lyrical and tells stories. — Patti Scialfa

Learning is not the consequence of teaching or writing, but rather of thinking ... so a playful, provocative, unclear but stimulating book could actually be more worth your money than a serious, clear book that tells you what to think but doesn't make you think. — Brian D. McLaren

I listened to this interview once with Jerry Seinfeld that really influenced my comedy and all of my writing, which is that when you're starting out in comedy, it's the audience that tells you what's funny about you. And you need to listen to that and make a note of that. — Mike Birbiglia

And now, advice for beginning mystics. Be sober, be intelligent, be educated, rely on the tangible reality as long as you can. Remember that the act of writing is a tiny part of a bigger something. Defend the value of the spiritual experience and if somebody tells you it's an old fashioned notion, laugh loudly and serenely. — Adam Zagajewski

Many a young person tells me he wants to be a writer. I always encourage such people, but I also explain that there's a big difference between being a writer and writing. In most cases these individuals are dreaming of wealth and fame, not the long hours alone at the typewriter. You've got to want to write, I say to them, not want to be a writer. The reality is that writing is a lonely, private and poor-paying affair. For every writer kissed by fortune, there are thousands more whose longing is never requited. Even those who succeed often know long periods of neglect and poverty. I did. — Alex Haley

When the reader has stopped to wonder at your delamificatious vocabulary, or, worse, when the reader has stopped because the word you've used has no more meaning to him than a random ptliijnbvc of letters, the reader is not involved in your story ... Generally, saying 'edifice' instead of 'building' doesn't tell your reader anything about the building; it tells the reader that you know that word edifice. — Howard Mittelmark

I consider my greatest strength my complete and utter faith in a loving God. Strong family values are also important and I do not hesitate to write them into my books. My reader mail tells me this is something that readers especially like about my books. — Debbie Macomber

Good writing is remembering detail. Most people want to forget. Don't forget things that were painful or embarrassing or silly. Turn them into a story that tells the truth. — Paula Danziger

It's tempting to preface everything with "In my life I've found" so that people can't yell at me for being wrong (I often am) or misinformed (sure) or overly emotional (HOW DARE YOU). But this is a book about my life so I have to simply hope that unsaid disclaimer is just implied. This is my life, and my observations of it, and they change as I change. That's one of the frightening things about writing a book that no one ever tells you. You have to pin down your thoughts and opinions and then they exist on a page, ungrowing, forever. You may convince yourself that you were never stupid or coarse or ignorant but one day you reread your seventh-grade diary and rediscover the person who one day becomes you, and you vacillate between wanting to hug this unfinished, confused stranger and wanting to shake some damn sense into her. — Jenny Lawson

I think the best thing about music is that someone could be writing a song that's so personal, and it tells so many other people's story at the same time. It kind of exemplifies that we are all kind of on the same wave[length] - it's amazing how comforting somebody else's story can be, because we have experienced their story in some way or another, and I can totally relate, and I get to feel that feeling and the expression of that emotion. I get to feel like as a listener, that somebody understands me, which is pretty incredible. — Theresa Wayman

I get some very fierce anonymous letters about the Athanasian Creed, which would amuse you, if they were not so sad as to what they imply on the part of the writers. The last tells me that I am a Pharisee, and should have helped to crucify our Lord. It is very odd that people should think, much more write, such things; but the passion of unbelief is a very serious thing while it lasts. — Henry Parry Liddon

I think of myth and magic as the hieroglyphics of the human psyche. They are a special language that circumvents conscious thought and goes straight to the subconscious.
Non-fiction uses the medium of information. It tells us what we need to know.
Science fiction primarily uses the medium of physics and mathematics. It tells us how things work, or could work.
Horror taps into the darker imagery of the psychology, telling us what we should fear.
Fantasy, magic and myth, however, tap into the spiritual potential of the human life. Their medium is symbolism, truth made manifest in word pictures, and they tell us what things mean on a deep, internal level. I have always been a meaning-maker. I have always been someone who strives to make sense of everything and perhaps that is where my life as a storyteller first began. Life doesn't always make sense, but story must. And so I write stories, and the world comes right again. — Ripley Patton

Because here's the thing: No matter how much one tells stories of magical beasts or impossible worlds, in the end, it is always the world of here and now one is writing about. The better one understands that world, the more powerful the stories will be. — Steven Brust

Sometimes the novelist feels himself like God and is prepared to tell you everything about his characters; sometimes, however, he does not; and then he tells you not everything that is to be known about them but the little he knows himself; and since as we grow older we feel ourselves less and less like God I should not be surprised to learn that with advancing years the novelist grows less and less inclined to describe more than his own experience had given him. The first person singular is a very useful device for this limited purpose. — Maugham W. Somerset

It is, as I say, easy enough to describe Holden's style of narration; but more difficult to explain how it holds our attention and gives us pleasure for the length of a whole novel. For, make no mistake, it's the style that makes the book interesting. The story it tells is episodic, inconclusive and largely made up of trivial events. Yet the language is, by normal literary criteria, very impoverished. Salinger, the invisible ventriloquist who speaks to us through Holden, must say everything he has to say about life and death and ultimate values within the limitations of a seventeen-year-old New Yorker's argot, eschewing poetic metaphors, periodic cadences, fine writing of any kind. — David Lodge

Alongside the liberating relief of the veteran who tells us his story, I now felt in the writing a complex, intense, and new pleasure, similar to that I felt as a student when penetrating the solemn order of differentials calculus. It was exalting to search and find, or create, the right word, that is, commensurate, concise, and strong; to dredge up events from my memory and describe them with the greatest rigor and the least clutter. — Primo Levi

Feedback doesn't tell you about yourself. It tells you about the person giving the feedback. In other words, if someone says your work is gorgeous, that just tells you about *their* taste. If you put out a new product and it doesn't sell at all, that tells you something about what your audience does and doesn't want. When we look at praise and criticism as information about the people giving it, we tend to get really curious about the feedback, rather than dejected or defensive. — Tara Mohr

There is no ideal length, but you develop a little interior gauge that tells you whether or not you're supporting the house or detracting from it. When a piece gets too long, the tension goes out of it. That word-tension-has an animal insistence for me. A piece of writing rises and falls with tension. The writer holds one end of the rope and the reader holds the other end-is the rope slack, or is it tight? Does it matter to the reader what the next sentence is going to be? — John Jeremiah Sullivan

Don't tell me my writing is misogynistic or anti-feminist just because I or my heroines like to be controlled in the bedroom and find great satisfaction and freedom with it. That is the most anti-feminist statement I have ever heard. Feminism is all about letting women be who THEY want to be. Not how YOU want them to be...I am both a feminist AND a submissive in my sexual fantasies and reality. You are the one who is anti-feminist who tells me I can't be. — R.B. O'Brien

We talk about our assholes. We talk about our cocks. We talk about who we fucked last night, or who we're gonna fuck tomorrow ... Everyone tells one's friends about that, right? So the question is, what happens when you make a distinction between what you tell your friends and what you tell your muse? The trick is to break down that distinction, to approach your muse as frankly as you would talk to yourself, or to your friends. It's the ability to commit to writing, to write the same way you are. — Allen Ginsberg

I can be really silly when I'm not actually writing silliness, and I have to rein that in. Pynchon, in my opinion, sometimes tells elaborate shaggy dog stories just to work up to a pun or punch line. My challenge is to use humor and wordplay to reinforce the emotional core of the novel. — Mary Kay Zuravleff

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

In her book The Writing Life (1989), Annie Dillard tells the story of a fellow writer who was asked by a student, "Do you think I could be a writer?" "'Well,' the writer said, 'do you like sentences?'" The student is surprised by the question, but Dillard knows exactly what was meant. He was being told, she explains, that "if he likes sentences he could begin," and she remembers a similar conversation with a painter friend. "I asked him how he came to be a painter. He said, 'I like the smell of paint.'" The point, made implicitly (Dillard does not belabour it), is that you don't begin with a grand conception, either of the great American novel or masterpiece that will hang in the Louvre. You begin with a feel for the nitty-gritty material of the medium, paint in one case, sentences in the other. — Stanley Fish

The point of freewriting is to get past the voice inside your head that tells you your ideas aren't good enough, your words aren't good enough, you're no writer and so forth. — M. Molly Backes

The sky grows dark over the city as Janey tells me her story. Teh beast was supposed to help their community. Something that would look good in a brochure, I suppose. But instead, it cut loose, took out in to the Williamsburg night. Janey and the kids went after it , and when they finally caught up what does it do? The thing ate a hipster. — Daniel Jose Older

I want my stories to be something about life that causes people to say, not, oh, isn't that the truth, but to feel some kind of reward from the writing, and that doesn't mean that it has to be a happy ending or anything, but just that everything the story tells moves the reader in such a way that you feel you are a different person when you finish. — Alice Munro

I write the last line, and then I write the line before that. I find myself writing backwards for a while, until I have a solid sense of how that ending sounds and feels. You have to know what your voice sounds like at the end of the story, because it tells you how to sound when you begin. — John Irving

The nature of immortality is a mystery,' he says, speaking so softly that we have to lean closer to hear.' But everything I know of writing and reading tells me that this is true. I have felt it in these shelves and in others. — Robin Sloan

It is almost always a greater pleasure to come across a semicolon than a period. The period tells you that that is that; if you didn't get all the meaning you wanted or expected, anyway you got all the writer intended to parcel out and now you have to move along. But with a semicolon there you get a pleasant little feeling of expectancy; there is more to come; read on; it will get clearer. — Lewis Thomas

Williamson, writing in 1810, tells us that the passes were so infested with tigers that the roads were almost impassible. 'Day after day, for nearly a fortnight, some of the dak people were carried off at one or other of these passes.' In — Ruskin Bond

What nobody tells you is that spending an entire day being paid to do something you love is sometimes a lot less fun than spending an entire day doing something you love for free. — Allison K. Williams

Work with good directors. Without them your play is doomed. At the time of my first play, I thought a good director was someone who liked my play. I was rudely awakened from that fantasy when he directed it as if he loathed it ... Work with good actors. A good actor hears the way you (and no one else) write. A good actor makes rewrites easy. A good actor tells you things about your play you didn't know. — Terrence McNally

In my world," said Posy, "authors write stories, and the characters do whatever the author tells them. It's not like this--the characters don't have minds and lives of their own."
"How do you know this?" was Caris' surprising reply. The corner of her mouth turned up in a playful smile. "You do not see the characters when the pages of the book are shut. Is there never a time when you read a book for the second time and you notice something that you didn't remember from the first time? Or hear a story told, and every time it is told it grows and changes in the telling? Change is the nature of everything. — Ashlee Willis

If a man can only write well when drunk, I'll tell him: get drunk. And if he tells me that his liver suffers with it, I'll answer: what's your liver? It's a dead thing that lives as long as you live, and the poems you'll write will live without a as long as. — Fernando Pessoa

Dear Aspiring Writer, you are not ready. Stop. Put that finished story away and start another one. In a month, go back and look at the first story. RE-EDIT it. Then send it to a person you respect in the field who will be hard on you. Pray for many many many red marks. Fix them. Then put it away for two weeks. Work on something else. Finally, edit one last time. Now you are ready to sub your first work.
Criticism is hard to take at first. Trust me, I've been there. But learn to think of crit marks as a knife. Each one is designed to cut away the bad and leave a scar. Scars prove you've lived, learned and walked away a winner. Any writer who tells you they don't need edits is lying. I don't care if they have 100 books out. Edits make you grow and if you aren't growing as a writer, you are dead. — Inez Kelley

I think my first general rule is that most of my experiences are not that interesting. It's usually other people's experiences. It's not that entirely conscious. Somebody tells me a story or, you know, repeats an anecdote that somebody else told them and I just feel like I have to write it down so I don't forget - that means for me, something made it fiction-worthy. Interesting things never happen to me, so maybe two or three times when they do, I have to use them, so I write them down. — Chimamanda Ngozi Adichie

You can't just come out and say what you have to say. That's what people do on airplanes, when a man plops down next to you in the aisle seat of your flight to New York, spills peanuts all over the place (back when the cheapskate airlines at least gave you peanuts), and tells you about what his boss did to him the day before. You know how your eyes glaze over when you hear a story like that? That's because of the way he's telling his story. You need a good way to tell your story. — Adair Lara

We all know what good writing is: It's the novel we can't put down, the poem we never forget, the speech that changes the way we look at the world. It's the article that tells us when, where, and how, the essay that clarifies what was hazy before. Good writing is the memo that gets action, the letter that says what a phone call can't. It's the movie that makes us cry, the TV show that makes us laugh, the lyrics to the song we can't stop singing, the advertisement that makes us buy. Good writing can take form in prose or poetry, fiction or nonfiction. It can be formal or informal, literary or colloquial. The rules and tools for achieving each are different, but one difficult-to-define quality runs through them all: style. "Effectiveness of assertion" was George Bernard Shaw's definition of style. "Proper words in proper places" was Jonathan Swift's. You — Mitchell Ivers

A scar is like writing on your body. It tells about something that once happened to you, such as a cut on your skin where blood came out. What — Margaret Atwood

She is about to add, "I have scars, inside me," but she stops herself. What is a scar, Oh Toby? That would be the next question. Then she'd have to explain what a scar is. A scar is like writing on your body. It tells about something that once happened to you, such as a cut on your skin where blood came out. — Margaret Atwood

There's always moral instruction whether the writer inserts it deliberately or not. The least effective moral instruction in fiction is that which is consciously inserted. Partly because it won't reflect the storyteller's true beliefs, it will only reflect what he BELIEVES he believes, or what he thinks he should believe or what he's been persuaded of.
But when you write without deliberately expressing moral teachings, the morals that show up are the ones you actually live by. The beliefs that you don't even think to question, that you don't even notice
those will show up. And that tells much more truth about what you believe than your deliberate moral machinations. — Orson Scott Card

A writer discovers what he knows as he knows it, i.e., as he makes it. No artist writes in order to objectify an "idea" already formed. It is the poem or novel or story that quite precisely tells him what he didn't know he knew: he knows, that is, only in terms of his writing. This is, of course, simply another way of saying that literary composition is not the placing of a held idea into a waiting form. — Gilbert Sorrentino

No one ever tells you that: that there's no method. Writing's a lawless place. — Naomi Wood

Fiction operates through the senses, and I think one reason that people find it so difficult to write stories is that they forget how much time and patience is required to convince through the senses. No reader who doesn't actually experience, who isn't made to feel, the story is going to believe anything the fiction writer merely tells him. The first and most obvious characteristic of fiction is that it deals with reality through what can be seen, heard, smelt, tasted, and touched. — Flannery O'Connor

Tolstoy does not tell us how things look to the author; he tells us how they look to the characters. In short, he does not use simile and metaphor. (That astonishing assertion in Wood's review is what got me started reading Tolstoy in the first place. How can anyone write without using metaphor and simile? That would be like - never mind.) — John Mark Reynolds

A Tragic Honesty, like the Ian Hamilton biography of Lowell that I read recently, is a sad and occasionally terrifying account of how creativity can be simultaneously fragile and self-destructive; it also made me grateful that I am writing now, when the antidepressants are better, and we all drink less. Stories about contemporary writers being taken away in straitjackets are thin on the ground - or no one tells them to me, anyway - but it seemed to happen to Lowell and Yates all the time; there are ten separate page references under 'breakdowns' in the index of A Tragic Honesty. — Nick Hornby

Rule one of reading other people's stories is that whenever you say 'well that's not convincing' the author tells you that's the bit that wasn't made up. This is because real life is under no obligation to be convincing. — Neil Gaiman

The resistance is the voice in your head telling you to use bullets in your PowerPoint slides ... It's the voice that tells you to leave controversial ideas out of the paper you're writing, because the teacher won't like them. The resistance pushes relentlessly for you to fit in. — Seth Godin

But reading is different, reading is something you do. With TV, and cinema for that matter, everything's handed to you on a plate, nothing has to be worked at, they just spoon-feed you. The picture, the sound, the scenery, the atmospheric music in case you haven't understood what the director's on about ... The creaking door that tells you to be stiff. You have to imagine it all when you're reading. — Daniel Pennac

TAKE THE ROOM-TEMPERATURE op-ed article that you have read lately, or may be reading now, or will scan in the future. Cast your eye down as far as the sentence that tells you there will be no terminus to Muslim discontent until there has been a solution to the problem of Palestine. Take any writing implement that comes to hand, strike out the word "Palestine," and insert "Kashmir." Then spend as much time as you can afford in elucidating the subject. And then . . — Christopher Hitchens

The songs we sing invite the participation of the listener, who is central to finding a way of creating the life of the song at that listening. It's the difference between poetry and didactic writing. One tells you, 'This is it,' and the other says, 'Let's find this together.' — Peter Yarrow

When the storyteller tells the truth, she reminds us that human beings are more alike than unalike ... A story is what it's like to be a human being-to be knocked down and to miraculously arise. Each one of us has arisen, awakened. We do rise. — Maya Angelou

Advice? Fail constantly. Because the word doesn't mean what you think it means, especially when you're an artist. I use the word artist to mean everything from songwriting to writing a novel to even writing video games. Anything that tells a story, which is almost any medium. Gotta take risks, you gotta go through multiple drafts which means you have to FAIL, a lot. So you won't always get the reaction you always want from every single person, so when you lose that fear of failure, when you stop even thinking of it as failure, and you push yourself farther, you'll take bigger risks, and eventually, after about six or seven hundred rejections, you'll find success. And you'll find a way of conveying what you really want to say, in the best manner. — Victor Giannini

This recognition of the truth we get in the artist's work comes to us as a revelation of new truth. I want to be clear about that. I am not referring to the sort of patronizing recognition we give a writer by nodding our heads and observing, "Yes, yes, very good, very true - that's just what I'm always saying." I mean the recognition of a truth that tells us something about ourselves that we had not been always saying, something that puts a new knowledge of ourselves withint our grasp. It is new, startling, and perhaps shattering, and yet it comes to us with a sense of familiarity. We did not know it before, but the moment the poet has shown it to us, we know that, somehow or other, we had always really known it. — Dorothy L. Sayers