Quotes About Writing

Write all the time. I believe in writing every day, at least a thousand words a day. We have a strange idea about writing: that it can be done, and done well, without a great deal of effort. Dancers practice every day, musicians practice every day, even when they are at the peak of their careers – especially then. Somehow, we don’t take writing as seriously. But writing – writing wonderfully – takes just as much dedication.

I approach writing a poem in a much different state than when I am writing prose. It's almost as if I were working in a different language when I'm writing poetry. The words - what they are and what they can become - the possibilities of the words are vastly expanded for me when I'm writing a poem.

A distinction must be made between that writing which enables us to hold on to life even as we are clinging to old hurts and wounds and that writing which offers to us a space where we are able to confront reality in such a way that we live more fully. Such writing is not an anchor that we mistakenly cling to so as not to drown. It is writing that truly rescues, that enables us to reach the shore, to recover.

I do think reading is the best practice for writing, along with writing all the time. I actually never liked writing on my own or in school until I'd had my blog for a while and realized I'd been writing every day for years.

Write. Start writing today. Start writing right now. Don’t write it right, just write it -and then make it right later. Give yourself the mental freedom to enjoy the process, because the process of writing is a long one. Be wary of “writing rules” and advice. Do it your way.

When I'm writing about reality, I'm writing about death. When I'm writing fiction, I'm writing about life.

Writing has to do with truth-telling. When you're writing, let's say, an essay for a magazine, you try to tell the truth at every moment. You do your best to quote people accurately and get everything right. Writing a novel is a break from that: freedom. When you're writing a novel, you are in charge; you can beef things up.

I don’t even know what I’m writing, I have no idea, I don’t know anything, and I’m not reading over it, and I’m not correcting my style, and I’m writing just for the sake of writing, just for the sake of writing more to you… My precious, my darling, my dearest!

I never stopped writing. I started writing when I was twelve years of age. And I was writing all the time. But nothing was translated until thirty years after I started writing, when The Hidden Face of Eve was translated in 1980.

Actually, my first group was a folkloric group, an Argentine folkloric group when I was 10. By the time I was 11 or 12 I started writing songs in English. And then after a while of writing these songs in English it came to me that there was no reason for me to sing in English because I lived in Argentina and also there was something important [about Spanish], so I started writing in Spanish.

Writing was always a laborious thing for me. I never wrote fluently, I never wrote fluidly, there was something very awkward in my writing. But it seemed to me purposely awkward. It's almost as if I made the labor part of writing.

It is a bit more challenging for the simple fact that now the stories I am writing are relying more on my imagination than on facts, more on research than on memory; so it is basically a slower writing process, more reading, more exploring. On the other hand, this approach is a little bit relieving too, since many times while writing [How the Soldieer Repairs the Gramophone] I felt too close and equal to my character.

Writing on the subway or anywhere is writing. Maybe it's all just writing.

I know well enough that very few people who are supposedly interested in writing are interested in writing well. They are interested in publishing something, and if possible in making a "killing." They are interested in being a writer not in writing. . . If this is what you are interested in, I am not going to be much use to you.

When I am writing fiction, I believe I am much better organized, more methodical - one has to be when writing a novel. Writing poetry is a state of free float.

I know I'll keep writing poems. That's the constant. I don't know about novels. They're hard. It takes so much concentrated effort. When I'm writing a novel it's pretty much all I can do. I get bored. It takes months. Movies do the same thing. It's all-encompassing. It feels like I'm going to end up writing poems, short stories and screenplays.

There's no lack of writers writing novels in America, about America. Therefore, it seems to me it would be wasteful for me to add to that huge number of people writing here when there are so few people writing about somewhere else.

You do an awful lot of bad writing in order to do any good writing. Incredibly bad. I think it would be very interesting to make a collection of some of the worst writing by good writers.

I came out with a book called The True Secret of Writing: Connecting Life with Language. It's a book that describes how writing is a practice and how my teaching is part of that practice. I direct the writing and create books but underneath, there's always the river of practice happening. No good, no bad. Just do it.

When you're really caught up in writing a poem, it can be a form of prayer. I'm not very good at praying, but what I experience when I'm writing a poem is close to prayer. I feel it in different degrees and not with every poem. But in certain ways writing is a form of prayer.

[N]othing is as surprising as life. Except for writing. Except for writing. Yes, of course, except for writing, the only consolation.

The whole thing of working in all these different mediums, it's just so that I can always be playing hooky from one of them. I can always be rebelling against my boss. Like, I'm supposed to be writing this book, but - heh heh heh - I'm writing a movie, secretly. I'm procrastinating, and in my off-hours I'm working on this movie that I'm not allowed to do, because I'm supposed to be writing a book!

It is a singular reaction, this sitting still and writing, writing, writing, or ruminating at length, which is much the same, really.

Be ruthless about protecting writing days, i.e., do not cave in to endless requests to have "essential" and "long overdue" meetings on those days. The funny thing is that, although writing has been my actual job for several years now, I still seem to have to fight for time in which to do it. Some people do not seem to grasp that I still have to sit down in peace and write the books, apparently believing that they pop up like mushrooms without my connivance. I must therefore guard the time allotted to writing as a Hungarian Horntail guards its firstborn egg.

There's a certain amount of pressure that goes with writing superhero characters, especially characters that are beloved to audiences. You know that you're always writing into a certain amount of expectations and into an existing fandom, and I try to take the pressure of that in when I first accept a project and then I try to push it aside as much as possible and just focus on the story that I want to tell. It's definitely a little more pressure than writing something of your own, from your own brain, and creating those expectations from scratch. But I also like the challenge of it.

Critics stopped being relevant when they stopped writing to inform and contextualize, and when they started writing to signal who they are, to display their identity by their stance on what they are writing about. Criticism should never be about the critic, but thats what it has become, and that’s why no one cares about them anymore.

Teaching and writing are separate, but serve/feed one another in so many ways. Writing travels the road inward, teaching, the road out - helping OTHERS move inward - it is an honor to be with others in the spirit of writing and encouragement.

I write less about alcohol, less and less and less. You 're an addict - so of course you write about the thing you love most. I loved alcohol the most, loved it more than anybody or anything. That's what I wrote about. And it certainly accounted for some great writing. But it accounted for two or three years of good writing - it would never account for 20 years of good writing. I would have turned into Charles Bukowski. He wrote 10,000 poems and 10 of them were great.

Most of the time you're writing for radio, you're writing for a label, you're writing to stick a hit, and you end up coming out with something that isn't necessarily genuine.

I was a lot dumber when I was writing the novel. I felt like worse of a writer because I wrote many of the short stories in one sitting or over maybe three days, and they didn't change that much. There weren't many, many drafts. That made me feel semi-brilliant and part of a magical process. Writing the novel wasn't like that. I would come home every day from my office and say, "Well, I still really like the story, I just wish it was better written." At that point, I didn't realize I was writing a first draft. And the first draft was the hardest part.

Writing is a bit like swimming. You learn writing by doing it and you learn swimming by doing it. Nobody learns how to swim by reading a book about swimming and nobody learns how to write by reading a book about writing. If you want to learn how to write, write a lot and you will get better at it.

Writing is like wrestling; you are wrestling with ideas and with the story. There is a lot of energy required. At the same time, it is exciting. So it is both difficult and easy. What you must accept is that your life is not going to be the same while you are writing. I have said in the kind of exaggerated manner of writers and prophets that writing, for me, is like receiving a term of imprisonment-you know that's what you're in for, for whatever time it takes.

So, whenever I'm writing, I'm writing in the presence of all the other books I've read and I think we all are.

To me, writing is about how we see. The writers I want to read teach me how to see-see the world differently. In my writing there is no separation between how I observe the world and how I write the world. We write through our eyes. We write through our body. We write out of what we know.

I'm trying my hand at writing. I'm writing a couple of projects for HBO, a half hour comedy and a miniseries.

When I'm writing poetry, 99.9% of my writing begins in English. I spent most of my life in English, although I am bilingual.

I was 22 and stopped writing plays, and I didn't start again until I was 25. I was writing badly. In college, I attempted to write these more conventional plays, but the theater I loved was downtown experimental theater. I didn't feel like I could do that either. It didn't occur to me to do my own thing.

I'm bullish on writing. Movies, radio, television, and now digital media - everything was supposed to push us away from text, to video or "back" to speech. First, there's no going back. We're always stumbling forward. Second, writing is invincible. Thirty years ago, we thought we'd all be talking to our computers; instead, we're all typing on our phones.

By TV standards - I'm not comparing it to manual labor by any means - by TV comedy standards, it is the hardest job I will ever, ever have. There is nothing that could be harder. I mean, when you combine the amount of writing that has to be done - sharp writing - with the fact that you then take it to the street and improvise with both celebrities who have no idea what's going to happen and real people who are not actors or comedians who don't even know I'm about to talk to them... It's lightning in a bottle every time.

I think I started writing as a young person because I felt a lot of psychic confusion and emotional confusion, and writing was a way to sort it out. You know, to externalize it, sort it out, put it down, look at it, and hopefully it would become clearer.

I have visions and ideas about different things. Other actors just inspire you, so writing is something I would love to do more of. I would really be interested in doing something in that vein, writing something for myself or someone else and directing for sure.

Sometimes I'll have an end in mind, but it's always false, always corny, just a dumb idea anyone could have, sitting on a barstool. An abstract thesis with no real life inside it. And then I start writing and the writing itself confounds me, taking away the comfort of knowing the end in advance. How is that even possible? Doesn't the conclusion come at the end? How can you begin with one - that seems odd, right?

Writing a song isn't that hard. Writing a good song is difficult. Let's face it, we're faced with taking a complex feeling or event, making words rhyme and saying exactly what we want them to say in a short amount of time. ...the primary reason for keeping it short and to the point is to be certain that you're not boring your audience.

I don't know when I'm writing dark. I don't know when I'm writing funny or even heartbreaking. I'm always just trying to write it true.

Love is anticipation and memory, uncertainty and longing. It’s unreasonable, of course. Nothing begins with so much excitement and hope and pleasure as love, except maybe writing a story. And nothing fails as often, except writing stories. And like a story, love must be troubled to be interesting.

I can certainly be surprised by turns a story takes, but usually not once I'm actually in the writing/drawing stage. In the plotting stage, anything can happen. That's why I try to finish that part before I start writing. I may be exaggerating here - I'm sure there are times when I think of something part-way through that changes the story, but the ultimate outcome doesn't change. Or not yet. It could always happen.

I think a lot of people are very good, but I don't think anybody could do my rhythm. I was thinking, "If you want my rhythm" - and when I was writing, I was writing them for myself - "why am I watching another actor doing what I should be doing?" It was just a really unpleasant experience.

The writers are writing human beings, and they're writing about the human condition and how difficult it is to function in that condition. I think it's one of the charms of the show, the idea of redemption and working towards becoming better people, for everybody involved.