Prose Quotes - Page 7

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I personally am a 'discovery writer,' as we're termed, someone who plans the book by writing it and then revising the entire thing. When it comes to saga, this means writing large chunks of prose before any of it coalesces into a book.

Henry James's later works would have been better had he resisted that curious sort of self-indulgence, dictating to a secretary. The roaming garrulousness of ordinary speech is usually corrected when it's transcribed into written prose.

As we all know, the evil of slavery and the sting of the whip have given us many things including the voice of Nina Simone, the prose of James Baldwin, the Air Jordan sneaker, the blues, jazz, moonwalking, and more recently gangsta rap.

I love a big, character-rich story with a dark heart, with a compelling mystery or some kind of ticking clock at its center. I want to be lured in by prose, captured by character, and bound by stellar plotting to keep turning the pages.

New poems no longer come to me with their prodigies of metaphor and assonance. Prose endures. I feel the circles grow smaller, and old age is a ceremony of losses, which is, on the whole, preferable to dying at forty-seven or fifty-two.

I used to think that most published writers, the ones I admired, had a muse, or a special connection to the universe, to nature, or to aliens - something inaccessible to me that caused their prose to flow onto the page, already perfect.

I feel very lucky and privileged to be a writer. I feel lucky in the sense that I can branch out into prose and tell different kinds of stories and stuff. But being a writer is so great because you're literally not dependent on anybody.

I could stifle my voice, or strip it. I know that I could, because we can do anything we put our minds to. I know that I could, but it feels very unnatural for me to strip my prose like that, in part because place is so important to me.

Not to make him blush, but any story illustrated by Mike Mignola does things that prose alone can't accomplish. The illustrations create mood and atmosphere, drawing the reader more deeply into the story than words could do on their own.

That's what you're looking for as a writer when you're working. You're looking for your own freedom. To lose your inhibition to delve deep into your memory and experiences and life and then to find the prose that will persuade the reader.

Henry Miller is a famous writer whose work has fallen out of fashion, but I strongly recommend that readers who don't know his work pick up a book and experience this writer's zealous, crazy, inventive, funny, sexy, often delirious prose.

So it is in poetry. All we ask is that the mood recorded shall impress us as having been of the kind that exhausts the imaginative capacity; if it fails to do this the failure will announce itself either in prose or in insignificant verse.

I was probably 21 or 22 years old when I realized the prose that I live by, which is, 'You get what you give.' The more good deeds that you could do in your life, the more fulfilling and enriched your life is going to be. I truly believe that.

In the plays - that's where I go crazy. But my prose has a much lighter touch; it's not trying to thrill with language, just to be more truthful. I'm not concerned with the accuracy of anything. We don't get to the truth of anything with facts.

I've got to hear the rhythm of the sentences; I want the music of the prose. I want to see ordinary things transformed not by the circumstances in which I see them but by the language with which they're described. That's what I love when I read.

One of the things I am most excited about personally is a five-issue anthology I put together, 'Legends of Red Sonja,' which is full of wonderful little short stories written exclusively by my favorite female writers of comics, prose, and gaming.

I started out in life as a poet; I was only writing poetry all through my 20s. It wasn't until I was about 30 that I got serious about writing prose. While I was writing poems, I would often divert myself by reading detective novels; I liked them.

My affinity, as a novelist, with Dickens has been overstated. I relish the way everything in his prose pulsates with life force, and I'm in debt to him every time I invest inanimate objects with uncanny animism. But his female characters annoy me.

For a profession that holds dear both the ability to vivisect politicians in prose and the expectation that these carved-up subjects will not complain, the media is horribly thin-skinned and vengeance-seeking when on the receiving end of criticism.

I've seen plays that are, objectively, total messes that move me in ways that their tidier brethren do not. That's the romantic mystery of great theater. Translating this ineffability into printable prose is a challenge that can never be fully met.

There is poetry even in prose, in all the great prose which is not merely utilitarian or didactic: there exist poets who write in prose or at least in more or less apparent prose; millions of poets write verses which have no connection with poetry.

For thousands of years, poetry has been picturing love as a mysterious and tragic power. But when anyone says the same thing in plain prose, and adds that life would be colourless and poor without the great passions, then this is called immorality!

I have a certain amount of creative energy, and it used to go painting. Now most of it goes to music. I like to make things. I treat the songs more like poems than prose, so in that sense, I don't really have a point to make. I just try to be surprised.

I consider myself a writer who writes about American expatriates. And if I have any overt cause as a writer besides writing the best prose I can, it's to try to make Americans have a more visceral feeling about how America impacts everybody in the world.

When interviewing for a job, tell the editor how you love to report. How your passion is gathering information. Do not mention how you want to be a writer, use the word 'prose,' or that deep down you have a sinking suspicion you are the next Norman Mailer.

Somehow, the words don't have any vitality, any life to them, unless I can feel it marking on a paper. That's how I start. Once I'm off, then I switch to the laptop. I think it would all just be prose if it started on a laptop - not that what I do is poetry.

One of the best known, and one of the least intelligible, facts of literary history is the lateness, in Western European Literature at any rate, of prose fiction, and the comparative absence, in the two great classical languages, of what we call by that name.

For all that has been said of the love that certain natures (on shore) have professed for it, for all the celebrations it has been the object of in prose and song, the sea has never been friendly to man. At most it has been the accomplice of human restlessness.

It's funny, because in deference to conventional wisdom, I spent my struggling writer years trying to suppress my naturally baroque literary voice and write clean, spare prose. I finally gave up and embraced my baroque tendencies when I wrote the Kushiel series.

V. S. Pritchett was one of the most admired, fun, talked-about writers of the 20th century: he was knighted by Queen Elizabeth for his work with prose. He was born in 1900, wrote till he died in 1997, and has been tidily forgotten ever since. This is a real shame.

In many ways, it's easier to write a book. You have more latitude with structure, and you have the freedom to luxuriate within the internal lives and musings of your characters. But where a screenplay does not always demand great prose, a novel lives or dies by it.

'M Train' will take you in and out of dreamscapes and reality and remembrances with prose so spare and matter-of-fact that it delivers a much bigger emotional punch. Patti Smith doesn't need to embellish; she just tells her stories... and her stories are incredible.

The cool thing about comic books and prose is that if a reader gets confused on page 8, they can backtrack. With films, you sit down in a seat and once the projector starts going you're stuck for the next two hours. There are no do-overs, rewinding or starting again.

To design is much more than simply to assemble, to order, or even to edit: it is to add value and meaning, to illuminate, to simplify, to clarify, to modify, to dignify, to dramatize, to persuade, and perhaps even to amuse. To design is to transform prose into poetry.

I've always taken the view that works of art are not just things that we enjoy. They can convey truths about the world more vividly and to greater effect than ordinary philosophical prose can because they don't just deal in ideas but show the emotional reality of them.

After 20 years of writing academic prose and lectures, it seems very familiar and straightforward to me. Writing a novel for the first time, I was reminded of just how difficult it is to figure out how to get this stuff done when you don't really know what you're doing.

Writing for theatre is certainly different to writing an essay or any other kind of fiction or prose: it's physical. You're also telling a story, but sometimes the story isn't exactly what you intend; maybe you uncover something you had no idea you were going to uncover.

Lately, I've been thinking about the difference between poetry and prose, and as I've experienced it, poetry is insistent. It allows for images and statements to operate in a single space and resonate powerfully without the application to be elaborated upon and narrated.

It's true that at the time I was fond of Kurt Vonnegut and Richard Brautigan, and it was from them that I learned about this kind of simple, swift-paced style, but the main reason for the style of my first novel is that I simply did not have the time to write sustained prose.

When we talk about novels, we don't often talk about imagination. Why not? Does it seem too first grade? In reviews, you read about limpid prose, about the faithful reproduction of consciousness, about moral heft, but rarely about the power of pure, unadulterated imagination.

I have, for a few years, been writing comedy prose - short pieces for my blog - because I found it to be a good way to write while I was on a TV show. It was different enough from my scripts that it felt like a break, but it still was comedy and very fun. I like to do comedy!

But every great scripture, whether Hebrew, Indian, Persian, or Chinese, apart from its religious value will be found to have some rare and special beauty of its own; and in this respect the original Bible stands very high as a monument of sublime poetry and of artistic prose.

My writing could be the most beautiful or important piece of prose, but it means nothing if it's boring, if people aren't listening or reading. I think transporting someone, putting them in a story for a few hours, taking them out of their worlds, is what I always strive to do.

Prose is something that is persistent in staying in one place long enough to not only zero in on the dramatic effect of something that might have happened, or something that might have been seen, but also in watching how it played out and thinking about the cause and the effect.

For each detail I include, I throw dozens away. So I guess the first trick is to pick the right details, the most revealing details. Then I think one must simply write quick, clean, bright prose. For me, this means rewriting and rewriting: almost never adding, almost always cutting.

I'm not a huge Lovecraft fan as far as that goes; I think there are some stories of his that are really quite wonderful, but for the most part, I have great difficulties with his prose - and the more you know about the man, the harder it is to separate him from the work in many ways.

A lot of time, I'd spell things in standard English instead of phonetically because I want people to understand what's going on. It's also very lyrical, and the great thing about lyrical prose is even when you're not totally sure of the words, you can be swayed by the musicality of it.

In the French language, there is a great gulf between prose and poetry; in English, there is hardly any difference. It is a splendid privilege of the great literary languages Greek, Latin, and French that they possess a prose. English has not this privilege. There is no prose in English.

Don't all writers have a hidden nerve, call it a secret chamber, something irreducibly theirs, which stirs their prose and makes it tick and turn this way or that, and identifies them, like a signature, though it lurks far deeper than their style, or their voice or other telltale antics?

Will you tell me, 'Oh, painting is a special art, whereas anyone can write prose passably well'? Can he, indeed? ... Can you, sir? Nay, believe me, you are either an archangel or a very bourgeois gentleman indeed if you admit to having spoken English prose all your life without knowing it.

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