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Read through the most famous quotes by topic #writers
[I]t is the writer's duty to write fiction which promotes virtue, the good, the beautiful, and above all, the true. ... It is the writer's duty to hate injustice, to defy the powerful, and to speak for the voiceless. To be ... the severest critics of our own societies. ↗
I have found that a writer is formed not so much by their experiences but by the way in which they view and capture those experiences. Like vivid, rainbow metallic skin cells on the wings of a fragile butterfly, it is how you touch and reveal those inner parts of yourself, without damaging the psyche, that determines whether the beauty is experienced and expressed and shared with others or, in fact, becomes the death of the self and Soul and psyche. I hope that I capture something in my work that is about the elusive, the magical and powerful and the transformative. The writing in itself is transformative for me. ↗
I have one word to say upon the subject of profound writers, who are grown very numerous of late; and I know very well the judicious world is resolved to list me in that number. I conceive therefore, as to the business of being profound, that it is with writers as with wells; a person with good eyes may see to the bottom of the deepest, provided any water be there; and often, when there is nothing in the world at the bottom, besides dryness and dirt, though it be but a yard and half under ground, it shall pass however for wondrous deep, upon no wiser a reason than because it is wondrous dark. ↗
Predictions are uttered by prophets (free of charge); by clairvoyants (who usually charge a fee, and are therefore more honored in their day than prophets); and by futurologists (salaried). Prediction is the business of prophets, clairvoyants, and futurologists. It is not the business of novelists. A novelist's business is lying. ↗
When he was in college, a famous poet made a useful distinction for him. He had drunk enough in the poet's company to be compelled to describe to him a poem he was thinking of. It would be a monologue of sorts, the self-contemplation of a student on a summer afternoon who is reading Euphues. The poem itself would be a subtle series of euphuisms, translating the heat, the day, the student's concerns, into symmetrical posies; translating even his contempt and boredom with that famously foolish book into a euphuism. The poet nodded his big head in a sympathetic, rhythmic way as this was explained to him, then told him that there are two kinds of poems. There is the kind you write; there is the kind you talk about in bars. Both kinds have value and both are poems; but it's fatal to confuse them. In the Seventh Saint, many years later, it had struck him that the difference between himself and Shakespeare wasn't talent - not especially - but nerve. The capacity not to be frightened by his largest and most potent conceptions, to simply (simply!) sit down and execute them. The dreadful lassitude he felt when something really large and multifarious came suddenly clear to him, something Lear-sized yet sonnet-precise. If only they didn't rush on him whole, all at once, massive and perfect, leaving him frightened and nerveless at the prospect of articulating them word by scene by page. He would try to believe they were of the kind told in bars, not the kind to be written, though there was no way to be sure of this except to attempt the writing; he would raise a finger (the novelist in the bar mirror raising the obverse finger) and push forward his change. Wailing like a neglected ghost, the vast notion would beat its wings into the void. Sometimes it would pursue him for days and years as he fled desperately. Sometimes he would turn to face it, and do battle. Once, twice, he had been victorious, objectively at least. Out of an immense concatenation of feeling, thought, word, transcendent meaning had come his first novel, a slim, pageant of a book, tombstone for his slain conception. A publisher had taken it, gingerly; had slipped it quietly into the deep pool of spring releases, where it sank without a ripple, and where he supposes it lies still, its calm Bodoni gone long since green. A second, just as slim but more lurid, nightmarish even, about imaginary murders in an imaginary exotic locale, had been sold for a movie, though the movie had never been made. He felt guilt for the producer's failure (which perhaps the producer didn't feel), having known the book could not be filmed; he had made a large sum, enough to finance years of this kind of thing, on a book whose first printing was largely returned. ↗
#creativity #inspiration #novel #poem #poetry
As a young child I wanted to be a writer because writers were rich and famous. They lounged around Singapore and Rangoon smoking opium in a yellow pongee silk suit. They sniffed cocaine in Mayfair and they penetrated forbidden swamps with a faithful native boy and lived in the native quarter of Tangier smoking hashish and languidly caressing a pet gazelle. ↗
When a reader enters the pages of a book of poetry, he or she enters a world where dreams transform the past into knowledge made applicable to the present, and where visions shape the present into extraordinary possibilities for the future. ↗
#dreams #famous-authors #famous-poets #literacy #national-poetry-month
You could use a moth like that as a symbol in a novel, but it was trite, wasn’t it? The old moth-to-the-flame image had been used and used again. It was the stuff of amateur poetry. And she, having so little experience crafting a story, would be the most in danger of falling into trite approaches. If she wrote a novel, it probably would be about her father. And the male Luna moth would haunt its pages. Everyone would recognize the work as that of a first novelist. “She wrote about herself through the lens of her father.” The really good novelists, Laura thought, put their fathers, and maybe their mothers too, deeper into the stories. Which, she suddenly thought, might redeem Melville just the littlest bit. ↗
