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“Well, first you have to love writing. A lot of authors love having written. But I enjoy the actual writing. Beside that, I think the main reason I can be so prolific is the huge amount of planning I do before I start to write. I do a very complete, chapter-by-chapter outline of every book I write. When I sit down to write, I already know everything that's going to happen in the book. This means I've done all the important thinking, and I can relax and enjoy the writing. I could never write so many books if I didn't outline them first.”

“Don't be pretentious is my first advice to young writers. This is the big problem - just because you're getting an MFA doesn't mean you have to write for the Academy. Be true to your personality. Don't temper your personality down with words. Don't build defensive fortresses around yourself with words - words are your friends.”

“We fret about words, we writers. Words mean. Words point. They are arrows. Arrows stuck in the rough hide of reality. And the more portentous, more general the word, the more they can also resemble rooms or tunnels. They can expand, or cave in. They can come to be filled with a bad smell. They will often remind us of other rooms, where we'd rather dwell or where we think we are already living. They can be spaces we lose the art or the wisdom of inhabiting. And eventually those volumes of mental intention we no longer know how to inhabit will be abandoned, boarded up, closed down.”

“There's a phrase, "sitzfleisch", which means just plain sitting on your ass and getting it done. Just showing up for work. My uncle Raphael was a painter, and he used to say, "If the muse is late for work, start without her". You have to be there. You have to be there, and do it, and grind it out, even when it is grinding and you know you're probably going to rewrite all this tomorrow.”

“The best thing about writing fiction is that moment where the story catches fire and comes to life on the page, and suddenly it all makes sense and you know what it's about and why you're doing it and what these people are saying and doing, and you get to feel like both the creator and the audience. Everything is suddenly both obvious and surprising ("but of course that's why he was doing that, and that means that...") and it's magic and wonderful and strange.”

“At the risk, then, of being shunned by some of my gloomier peers, I venture to tell you that writers work like demons, suffer greatly, and are also happy, in unmistakable ways, some of the time. If we had no knowledge of happiness, our novels wouldn't sufficiently resemble real life. Some of us are even made a little bit happy, on occasion, by the writing process itself. I mean, really, if there wasn't some sort of enjoyment to be derived, would any of us keep doing it?”

“The office of reformer of the superstitions of a nation, is ever more dangerous. Jesus had to work on the perilous confines of reason and religion; and a step to the right or left might place him within the grasp of the priests of the superstition, a bloodthirsty race, as cruel and remorseless as the being whom they represented as the family God of Abraham, of Isaac and of Jacob, and the local God of Israel. That Jesus did not mean to impose himself on mankind as the son of God, physically speaking, I have been convinced by the writings of men more learned than myself in that lore.”

“I am committed to writing appropriate books for the middle grades. This means no bad language, no gratuitous or explicit violence, and no sexual content beyond what you might find in a PG-rated movie – expressions of who likes whom, holding hands, and perhaps the occasional kiss. The idea that we should treat sexual orientation itself as an adults-only topic, however, is absurd. Non-heterosexual children exist. To pretend they do not, to fail to recognize that they have needs for support and validation like any child, would be bad teaching, bad writing, and bad citizenship.”

“Most programs are not write-once. They are reworked and rewritten again and again in their lived. Bugs must be debugged. Changing requirements and the need for increased functionality mean the program itself may be modified on an ongoing basis. During this process, human beings must be able to read and understand the original code. It is therefore more important by far for humans to be able to understand the program than it is for the computer.”

“I moved here when I was 20 to go to college. After I moved here, I became much more aware of the importance of the culture and literature to my life. Sometimes when you're immersed in something, you just don't notice it very much. Moving away makes you appreciate your culture. Living here, I've thought more and more about India, and what being Indian-American means to me. And it's made me incorporate things from Indian literature into my own writing.”

“To draw does not simply mean to reproduce contours; the drawing does not simply consist in the idea: the drawing is even the expression, the interior form, the plan, the model. Look what remains after that! The drawing is three fourths and a half of what constitutes painting. If I had to put a sign over my door to the atelier, I would write: School of drawing, and I'm certain that I would create painters.”

“This writer, who is horribly perspicacious and vigorous, demonstrates the certainty of a great European war, and regards it with the peculiar satisfaction excited by such things in a certain order of mind. His phrases about "dire calamity" and so on mean nothing; the whole tenor of his writing proves that he represents, and consciously, one of the forces which go to bring war about; his part in the business is a fluent irresponsibility, which casts scorn on all who reluct at the "inevitable." Persistent prophecy is a familiar way of assuring the event.”

“I believe a good writer can write a good book with any sort of character, in any sort of setting, but I prefer to write about the outsider. It might just be because I've been one (or perceived myself to be one) for so much of my life. But the simple fact of being marginalized immediately brings conflict to a story before the narrative even begins, and that's gold for a writer because it means that your character already has depth before events begin to unfold.”

“I have nothing but myself to write about, no facts, no theories, no opinions, no adventures, no sentiments, nothing but my own poor barren individualism, of considerable interest to me, but I do not know why I should presume it will be so to you. Egotism is not tiresome, or it ought not to be, if one is sincere about oneself; but it is so hard to be sincere. Well, never mind, I mean to be, and you know me well enough to see through me when I am humbugging.”

“Television is making, there was in independent film renaissance late '80s through the mid-90's. It was an amazing time. Television is doing that right now. So that's why everybody wants to do it. I mean if you're writing stuff like, you know, Fargo, or True Detective, or any of these things that are on, Breaking Bad, there are no rules in television.”