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We are increasingly likely to find ourselves in places with background music. No composers have thought to write for these modern spaces, which represent 30% of our musical experience.
Feeling is always first for me in anything. I think the only way for sure that I know how do that is to write songs about things I feel strongly about.
In order to climb properly on big peak one must free oneself of fear. This means you must write yourself off before any big climb. You must say to yourself, I may die here.
I’m asking the questions tonight.” One day I was going to write a book: How to Dictate to a Dictator and Evade an Evader, subtitled How to Handle Jericho Barrons.
When you first start writing a song, it's fun, then when you start recording it, it's fun, but by the time you've finished recording it, you're sick of it.
At the time I begin writing a novel, the last thing I want to do is follow a plot outline. To know too much at the start takes the pleasure out of discovering what the book is about.
A part of my kind of design and inspiration ethos is that I carry around a leather notebook and I sketch in it, doodle in it, write notes in it and I put pictures in it.
To finish is sadness to a writer — a little death. He puts the last word down and it is done. But it isn't really done. The story goes on and leaves the writer behind, for no story is ever done.
Thus we build on the ice, thus we write on the waves of the sea; the waves roaring pass away, the ice melts, and away goes our palace, like our thoughts.
My writing is a process of rewriting, of going back and changing and filling in. in the rewriting process you discover what's going on, and you go back and bring it up to that point.
If you behave like a celebrity, then people will treat you like a celebrity, and if you don't, they won't. There's not much to write about me in the tabloids.
My influence is probably more from American crime writers than any Europeans. And I hardly read any Scandinavian crime before I started writing myself. I wasn't a great crime reader to begin with.
For TV I don't think I could have gotten a better part than Uncle Junior because of the intimacy of the character based on David Chase's brilliant writing.
I asked a French critic a couple of years ago why my books did so well in France. He said it was because in my novels people both act and think. I got a kick out of that.
Because you can't write habitually and well all the time, you have to be willing to write badly. That's how you get the regularity that enables you to be present for the good stuff.
When I'm writing, I think about the garden, and when I'm in the garden I think about writing. I do a lot of writing by putting something in the ground.
We'll keep writing and if it hits our standards we'll go with it. We're not here to destroy anything. It's as precious to us as it is for someone who's followed us for years.
Often turn the stile [correct with care], if you expect to write anything worthy of being read twice. [Lat., Saepe stilum vertas, iterum quae digna legi sint Scripturus.]