Crafted Quotes

Books are a uniquely portable magic.

The road to hell is paved with adverbs.

The scariest moment is always just before you start.

you can, you should, and if you’re brave enough to start, you will.

Description begins in the writer’s imagination, but should finish in the reader’s.

A little talent is a good thing to have if you want to be a writer. But the only real requirement is the ability to remember every scar.

He who works with his hands is a laborer. He who works with his hands and his head is a craftsman. He who works with his hands and his head and his heart is an artist.

If your writing doesn't keep you up at night, it won't keep anyone else up either

Amateurs sit and wait for inspiration, the rest of us just get up and go to work.

Writing is easy. You only need to stare at a blank piece of paper until drops of blood form on your forehead.

When you make music or write or create, it's really your job to have mind-blowing, irresponsible, condomless sex with whatever idea it is you're writing about at the time.

Some people have been unkind. If I say I want to grow as an actress, they look at my figure. If I say I want to develop, to learn my craft, they laugh. Somehow they don't expect me to be serious about my work.

Do not leave your reputation to chance or gossip; it is your life's artwork, and you must craft it, hone it, and display it with the care of an artist.

Write with the door closed, rewrite with the door open.

On the whole, I think you should write biographies of those you admire and respect, and novels about human beings who you think are sadly mistaken.

The universe is made of stories, not of atoms.

Writing isn't about making money, getting famous, getting dates, getting laid, or making friends. In the end, it's about enriching the lives of those who will read your work, and enriching your own life, as well. It's about getting up, getting well, and getting over. Getting happy, okay? Getting happy.

Kill your darlings, kill your darlings, even when it breaks your egocentric little scribbler’s heart, kill your darlings.

Art never responds to the wish to make it democratic; it is not for everybody; it is only for those who are willing to undergo the effort needed to understand it.

We are all apprentices in a craft where no one ever becomes a master.

In many cases when a reader puts a story aside because it 'got boring,' the boredom arose because the writer grew enchanted with his powers of description and lost sight of his priority, which is to keep the ball rolling.

Writing is not life, but I think that sometimes it can be a way back to life.

I'm a slow reader, but I usually get through seventy or eighty books a year, most fiction. I don't read in order to study the craft; I read because I like to read

Serious literature does not exist to make life easy but to complicate it.

If you want to be a writer, you must do two things above all others: read a lot and write a lot. There's no way around these two things that I'm aware of, no shortcut.

Just remember that Dumbo didn't need the feather; the magic was in him.

The lyf so short, the craft so long to lerne.

Where are you going?” “My God, you’re like the plague.” “A masterfully crafted, powerfully understated, and epic parable of timeless moral resonance? Why, thank you. That’s one of the nicest things anyone’s ever said to me,” he said. “The disease, Noah. Not the book.” “I’m ignoring that qualification.

The moment you fall in love feels like it has centuries behind it, generations - all of them rearranging themselves so this precise, remarkable intersection could happen. In your heart, in your bones, no matter how silly you know it is, you feel that everything has been leading to this, all the secret arrows were pointing here, the universe and time itself crafted this long ago, and you are just now realizing it, you are just now arriving at the place you were always meant to be.

While I'm writing, I'm far away; and when I come back, I've gone.

You cannot hope to sweep someone else away by the force of your writing until it has been done to you.

This witch had been crafted from the darkness between the stars.

If you expect to succeed as a writer, rudeness should be the second-to-least of your concerns. The least of all should be polite society and what it expects. If you intend to write as truthfully as you can, your days as a member of polite society are numbered, anyway.

If you're going to make a science fiction movie, then have a hover craft chase, for God's sake.

When you're socially awkward, you're isolated more than usual, and when you're isolated more than usual, your creativity is less compromised by what has already been said and done. All your hope in life starts to depend on your craft, so you try to perfect it. One reason I stay isolated more than the average person is to keep my creativity as fierce as possible. Being the odd one out may have its temporary disadvantages, but more importantly, it has its permanent advantages.

Words create sentences; sentences create paragraphs; sometimes paragraphs quicken and begin to breathe.

Child, to say the very thing you really mean, the whole of it, nothing more or less or other than what you really mean; that's the whole art and joy of words.

Your job isn't to find these ideas but to recognize them when they show up.

To write is human, to edit is divine.

Friends are a strange, volatile, contradictory, yet sticky phenomenon. They are made, crafted, shaped, molded, created by focused effort and intent. And yet, true friendship, once recognized, in its essence is effortless. Best friends are formed by time. Everyone is someone's friend, even when they think they are all alone. If the friendship is not working, your heart will know. It's when you start being less than perfectly honest and perfectly earnest in your dealings. And it's when the things you do together no longer feel right. However, sometimes it takes more effort to make it work after all. Stick around long enough to become someone's best friend.

You should just accept who you are, flaws and all, because if you try to be someone you aren't, then eventually some turkey is going to shit all over your well-crafted facade, so you might as well save yourself the effort and enjoy your zombie books.

Letting go is the lesson. Letting go is always the lesson. Have you ever noticed how much of our agony is all tied up with craving and loss?

Writing is a lonely job. Having someone who believes in you makes a lot if difference. They don't have to makes speeches. Just believing is usually enough.

It proves that time, distance, and devastation allow people enough opportunity to craft villains out of people they don’t even know.

The life so short, the craft so long to learn.

Reading in bed can be heaven, assuming you can get just the right amount of light on the page and aren't prone to spilling your coffee or cognac on the sheets.

It starts with this: put your desk in the corner, and every time you sit down there to write, remind yourself why it isn't in the middle of the room. Life isn't a support system for art. It's the other way around.

So okay― there you are in your room with the shade down and the door shut and the plug pulled out of the base of the telephone. You've blown up your TV and committed yourself to a thousand words a day, come hell or high water. Now comes the big question: What are you going to write about? And the equally big answer: Anything you damn well want.

The trouble with writing fiction is that it has to make sense, whereas real life doesn't.

The most important things to remember about back story are that (a) everyone has a history and (b) most of it isn’t very interesting.

Sometimes losing a pet is more painful than losing a human because in the case of the pet, you were not pretending to love it.

In the end, fiction is the craft of telling truth through lies.

A noble craft, but somehow a most melancholy! All noble things are touched with that.

I think there are two types of writers, the architects and the gardeners. The architects plan everything ahead of time, like an architect building a house. They know how many rooms are going to be in the house, what kind of roof they're going to have, where the wires are going to run, what kind of plumbing there's going to be. They have the whole thing designed and blueprinted out before they even nail the first board up. The gardeners dig a hole, drop in a seed and water it. They kind of know what seed it is, they know if planted a fantasy seed or mystery seed or whatever. But as the plant comes up and they water it, they don't know how many branches it's going to have, they find out as it grows. And I'm much more a gardener than an architect.

Fool me once, shame on you. Fool me twice, shame on me. Fool me three times, shame on both of us.

If you intend to write as truthfully as you can, your days as a member of polite society are numbered.

When you write a book, you spend day after day scanning and identifying the trees. When you’re done, you have to step back and look at the forest.

Spiritual but not religious,” Zachary clarifies. He doesn’t say what he is thinking, which is that his church is held-breath story listening and late-night-concert ear-ringing rapture and perfect-boss fight-button pressing. That his religion is buried in the silence of freshly fallen snow, in a carefully crafted cocktail, in between the pages of a book somewhere after the beginning but before the ending.

     Illicit flight Alfa Bravo Charlie quickly reached a predetermined altitude and stopped dead. The passengers on board screamed the way people do on fairground rides. The shuttle hesitated momentarily and then shot forward accelerating rapidly to reach a blistering 145,222 miles per hour. They were in a Mach 22 situation. The cries from on-board could not be heard from the ground. Neither did anyone in the great metropolis of Llar witness the bright blue vapour trail the craft left behind in its wake. It was after all overcast and raining heavily.

The scariest moment is always just before you start. After that, things can only get better.

LOG ENTRY: SOL 381 I’ve been thinking about laws on Mars. Yeah, I know, it’s a stupid thing to think about, but I have a lot of free time. There’s an international treaty saying no country can lay claim to anything that’s not on Earth. And by another treaty, if you’re not in any country’s territory, maritime law applies. So Mars is “international waters.” NASA is an American nonmilitary organization, and it owns the Hab. So while I’m in the Hab, American law applies. As soon as I step outside, I’m in international waters. Then when I get in the rover, I’m back to American law. Here’s the cool part: I will eventually go to Schiaparelli and commandeer the Ares 4 lander. Nobody explicitly gave me permission to do this, and they can’t until I’m aboard Ares 4 and operating the comm system. After I board Ares 4, before talking to NASA, I will take control of a craft in international waters without permission. That makes me a pirate! A space pirate!

I think the best stories always end up being about the people rather than the event, which is to say character-driven.

Writing is seduction. Good talk is part of seduction. If not so, why do so many couples who start the evening at dinner wind up in bed?

I like to get ten pages a day, which amounts to 2,000 words. That’s 180,000 words over a three-month span, a goodish length for a book — something in which the reader can get happily lost, if the tale is done well and stays fresh.

I have spent a good many years since―too many, I think―being ashamed about what I write. I think I was forty before I realized that almost every writer of fiction or poetry who has ever published a line has been accused by someone of wasting his or her God-given talent. If you write (or paint or dance or sculpt or sing, I suppose), someone will try to make you feel lousy about it, that's all.

It's hell writing and it's hell not writing. The only tolerable state is having just written.

Bad writing is more than a matter of shit syntax and faulty observation; bad writing usually arises from a stubborn refusal to tell stories about what people actually do― to face the fact, let us say, that murderers sometimes help old ladies cross the street.

What is it about the moment you fall in love? How can such a small measure of time contain such enormity? I suddenly realize why people believe in déjà vu, why people believe they've lived past lives, because there is no way the years I've spent on this earth could possibly encapsulate what I'm feeling. The moment you fall in love feels like it has centuries behind it, generations—all of them rearranging themselves so that this precise, remarkable intersection could happen. In you heart, in your bones, no matter how silly you know it is, you feel that everything has been leading to this, all the secret arrows were pointing here, the universe and time itself crafted this long ago, and you are just now realizing it, you are now just arriving at the place you were always meant to be.

Some stories have to be written because no one would believe the absurdity of it all.

Can I be blunt on this subject? If you don't have time to read, you don't have the time (or the tools) to write. Simple as that.

Good description is a learned skill, one of the prime reasons why you cannot succeed unless you read a lot and write a lot. It’s not just a question of how-to, you see; it’s also a question of how much to. Reading will help you answer how much, and only reams of writing will help you with the how. You can learn only by doing.

It is no secret. All power is one in source and end, I think. Years and distances, stars and candles, water and wind and wizardry, the craft in a man's hand and the wisdom in a tree's root: they all arise together. My name, and yours, and the true name of the sun, or a spring of water, or an unborn child, all are syllables of the great word that is very slowly spoken by the shining of the stars. There is no other power. No other name.

You know what I did after I wrote my first novel? I shut up and wrote twenty-three more." ("The Castle")

Eyes Tell Stories But do they know how to craft fiction? Do they know how to spin lies? His eyes swear forever, flatter with vows of only me. But are they empty promises? I stare into his eyes, as into a crystal ball, but I cannot find forever, only movies of yesterday, a sketchbook of today, dreams of a shared tomorrow. His eyes whisper secrets. But are they truths or fairy tales? I wonder if even he knows.

Words have weight.

Don't tell me the moon is shining, show me the glint of light on broken glass.

I heard you scream,” he said as he examined the blade in my hands. I’d never held one so finely crafted, so perfectly balanced. “And I hesitated. Not long, but I hesitated before I came running. Even though Tam got there in time, I still broke my word in those seconds I waited.” He jerked his chin at the knife. “It’s yours. Don’t bury it in my back, please.

Reading at meals is considered rude in polite society, but if you expect to succeed as a writer, rudeness should be the second-to-least of your concerns. The least of all should be polite society and what it expects.

Let's get one thing clear right now, shall we? There is no Idea Dump, no Story Central, no Island of the Buried Bestsellers; good story ideas seem to come quite literally from nowhere, sailing at you right out of the empty sky: two previously unrelated ideas come together and make something new under the sun. Your job isn't to find these ideas but to recognize them when they show up.

If you're just starting out as a writer, you could do worse than strip your television's electric plug-wire, wrap a spike around it, and then stick it back into the wall. See what blows, and how far. Just an idea.

The more you read, the less apt you are to make a fool of yourself with your pen or word processor.

But they held tighter to each other, past and present and future; flickering between an ancient hall in a mountain castle perched above Orynth, a bridge suspended between glass towers, and another place, perfect and strange, where they had been crafted from stardust and light. A wall of night knocked them back. But they could not be contained. The darkness paused for breath. They erupted.

Deep down, all the while, she was waiting for something to happen. Like a sailor in distress, she kept casting desperate glances over the solitary waster of her life, seeking some white sail in the distant mists of the horizon. She had no idea by what wind it would reach her, toward what shore it would bear her, or what kind of craft it would be – tiny boat or towering vessel, laden with heartbreaks or filled to the gunwhales with rapture. But every morning when she awoke she hoped that today would be the day; she listened for every sound, gave sudden starts, was surprised when nothing happened; and then, sadder with each succeeding sunset, she longed for tomorrow.

Sometimes, looking at the many books I have at home, I feel I shall die before I come to the end of them, yet I cannot resist the temptation of buying new books. Whenever I walk into a bookstore and find a book on one of my hobbies — for example, Old English or Old Norse poetry — I say to myself, “What a pity I can’t buy that book, for I already have a copy at home.

I don’t know if you have ever seem a map of a person’s mind. Doctors sometimes draw maps of other parts of you, and your own map can become intensely interesting, but catch them trying to draw a map of a child’s mind, which is not only confused, but keeps going round all the time. There are zigzag lines on it, just like your temperature on a card, and these are probably roads in the island; for the Neverland is always more or less and island, with astonishing splashes of colour here and there, and coral reefs and rakish-looking craft in the offing, and savages and lonely lairs, and gnomes who are mostly tailors, and caves through which a river runs, and princes with six elder brothers, and a hut fast going to decay, and one very small old lady with a hooked nose.

Almost everyone can remember losing his or her virginity, and most writers can remember the first book he/she put down thinking: I can do better than this. Hell, I am doing better than this! What could be more encouraging to the struggling writer than to realize his/her work is unquestionably better than that of someone who actually got paid for his/her stuff?

Wanting to Die Since you ask, most days I cannot remember. I walk in my clothing, unmarked by that voyage. Then the almost unnameable lust returns. Even then I have nothing against life. I know well the grass blades you mention, the furniture you have placed under the sun. But suicides have a special language. Like carpenters they want to know which tools. They never ask why build. Twice I have so simply declared myself, have possessed the enemy, eaten the enemy, have taken on his craft, his magic. In this way, heavy and thoughtful, warmer than oil or water, I have rested, drooling at the mouth-hole. I did not think of my body at needle point. Even the cornea and the leftover urine were gone. Suicides have already betrayed the body. Still-born, they don't always die, but dazzled, they can't forget a drug so sweet that even children would look on and smile. To thrust all that life under your tongue!— that, all by itself, becomes a passion. Death's a sad Bone; bruised, you'd say, and yet she waits for me, year after year, to so delicately undo an old wound, to empty my breath from its bad prison. Balanced there, suicides sometimes meet, raging at the fruit, a pumped-up moon, leaving the bread they mistook for a kiss, leaving the page of the book carelessly open, something unsaid, the phone off the hook and the love, whatever it was, an infection.

One of the really bad things you can do to your writing is to dress up the vocabulary, looking for long words because you're maybe a little bit ashamed of your short ones. This is like dressing up a household pet in evening clothes. The pet is embarrassed and the person who committed this act of premeditated cuteness should be even more embarrassed.

It was with some surprise that I saw that the person waiting for me at the airport's exit was Adrian. A grin spread over my face, and I picked up the pace. I threw my arms around him, astonishing both of us. "I have never been happier to see you in my life," I said. He squeezed me tightly and then let me go, regarding me admiringly. "The dreams never do justice to real life, little dhampir. You look amazing." "And you look . . ." I studied him. He was dressed as nicely as always. His dark brown hair had that crafted messiness he liked, but his face—ah, well. As I'd noted before, Simon had gotten a few good punches on him. One of Adrian's eyes was swollen and ringed with bruises. Nonetheless, thinking about him and everything he'd done . . . Well, none of the flaws mattered. " . . . Gorgeous." "Liar," he said. "Couldn't Lissa have healed that black eye away?" "It's a badge of honor. Makes me seem manly.

The poet or the revolutionary is there to articulate the necessity, but until the people themselves apprehend it, nothing can happen ... Perhaps it can't be done without the poet, but it certainly can't be done without the people. The poet and the people get on generally very badly, and yet they need each other. The poet knows it sooner than the people do. The people usually know it after the poet is dead; but that's all right. The point is to get your work done, and your work is to change the world.

Writing isn't about making money, getting famous, getting dates, getting laid, or making friends. In the end it's about enriching the lives of those who will read your work, and enriching your own life as well. It's about getting up, getting well, and getting over. Getting happy, okay? Getting happy. ...this book...is a permission slip: you can, you should, and if you're brave enough to start, you will. Writing is magic, as much the water of life as any other creative art. The water is free. So drink. Drink and be filled up.

A good psychologist will take already-traumatic events in your life and work with you to contextualize them as non-traumatic. A bad psychologist will take non-traumatic events in your life and twist your narrative to both make them traumatic and connect them to your current problems. The problem is that good psychologists solve your issues while bad ones create dependency and thus recurring revenue streams.

If then you do not make yourself equal to God, you cannot apprehend God; for like is known by like. Leap clear of all that is corporeal, and make yourself grown to a like expanse with that greatness which is beyond all measure; rise above all time and become eternal; then you will apprehend God. Think that for you too nothing is impossible; deem that you too are immortal, and that you are able to grasp all things in your thought, to know every craft and science; find your home in the haunts of every living creature; make yourself higher than all heights and lower than all depths; bring together in yourself all opposites of quality, heat and cold, dryness and fluidity; think that you are everywhere at once, on land, at sea, in heaven; think that you are not yet begotten, that you are in the womb, that you are young, that you are old, that you have died, that you are in the world beyond the grave; grasp in your thought all of this at once, all times and places, all substances and qualities and magnitudes together; then you can apprehend God. But if you shut up your soul in your body, and abase yourself, and say “I know nothing, I can do nothing; I am afraid of earth and sea, I cannot mount to heaven; I know not what I was, nor what I shall be,” then what have you to do with God?

What do you care?" I barked, and his grip tightened enough on my wrists that I knew my bones would snap with a little more pressure. "What do I care?" he breathed, wrath twisting his features. Wings - those membranous, glorious wings - flared from his back, crafted from the shadows behind him. "What do I care?" But before he could go on, his head snapped to the door, then back to my face. The wings vanished as quickly as they had appeared, and then his lips were crushing into mine. His tongue pried my mouth open, forcing himself into me, into the space where I could still taste Tamlin. I pushed and trashed, but he held firm, his tongue sweeping over the roof of my mouth, against my teeth, claiming me - The door was flung wide, and Amarantha's curved figure filled its space. Tamlin - Tamlin was beside her, his eyes slightly wide, shoulders tight as Rhys's lips still crushed mine. Amarantha laughed, and a mask of stone slammed down on Tamlin's face. void of feeling, void of anything vaguely like the Tamlin I'd been tangled up with moments before.

I believe the road to hell is paved with adverbs, and I will shout it from the rooftops. To put it another way, they're like dandelions. If you have one on your lawn, it looks pretty and unique. If you fail to root it out, however, you find five the next day... fifty the day after that... and then, my brothers and sisters, your lawn is totally, completely, and profligately covered with dandelions. By then you see them for the weeds they really are, but by then it's—GASP!!—too late.

There is a muse, but he’s not going to come fluttering down into your writing room and scatter creative fairy-dust all over your typewriter or computer. He lives in the ground. He’s a basement kind of guy. You have to descend to his level, and once you get down there you have to furnish an apartment for him to live in. You have to do all the grunt labor, in other words, while the muse sits and smokes cigars and admires his bowling trophies and pretends to ignore you. Do you think it’s fair? I think it’s fair. He may not be much to look at, that muse-guy, and he may not be much of a conversationalist, but he’s got inspiration. It’s right that you should do all the work and burn all the mid-night oil, because the guy with the cigar and the little wings has got a bag of magic. There’s stuff in there that can change your life. Believe me, I know.

All writers are vain, selfish, and lazy, and at the very bottom of their motives there lies a mystery. Writing a book is a horrible, exhausting struggle, like a long bout of some painful illness. One would never undertake such a thing if one were not driven on by some demon whom one can neither resist nor understand. For all one knows that demon is simply the same instinct that makes a baby squall for attention. And yet it is also true that one can write nothing readable unless one constantly struggles to efface one's own personality. Good prose is like a windowpane.

believe that this way of living, this focus on the present, the daily, the tangible, this intense concentration not on the news headlines but on the flowers growing in your own garden, the children growing in your own home, this way of living has the potential to open up the heavens, to yield a glittering handful of diamonds where a second ago there was coal. This way of living and noticing and building and crafting can crack through the movie sets and soundtracks that keep us waiting for our own life stories to begin, and set us free to observe the lives we have been creating all along without ever realizing it. I don’t want to wait anymore. I choose to believe that there is nothing more sacred or profound than this day. I choose to believe that there may be a thousand big moments embedded in this day, waiting to be discovered like tiny shards of gold. The big moments are the daily, tiny moments of courage and forgiveness and hope that we grab on to and extend to one another. That’s the drama of life, swirling all around us, and generally I don’t even see it, because I’m too busy waiting to become whatever it is I think I am about to become. The big moments are in every hour, every conversation, every meal, every meeting. The Heisman Trophy winner knows this. He knows that his big moment was not when they gave him the trophy. It was the thousand times he went to practice instead of going back to bed. It was the miles run on rainy days, the healthy meals when a burger sounded like heaven. That big moment represented and rested on a foundation of moments that had come before it. I believe that if we cultivate a true attention, a deep ability to see what has been there all along, we will find worlds within us and between us, dreams and stories and memories spilling over. The nuances and shades and secrets and intimations of love and friendship and marriage an parenting are action-packed and multicolored, if you know where to look. Today is your big moment. Moments, really. The life you’ve been waiting for is happening all around you. The scene unfolding right outside your window is worth more than the most beautiful painting, and the crackers and peanut butter that you’re having for lunch on the coffee table are as profound, in their own way, as the Last Supper. This is it. This is life in all its glory, swirling and unfolding around us, disguised as pedantic, pedestrian non-events. But pull of the mask and you will find your life, waiting to be made, chosen, woven, crafted. Your life, right now, today, is exploding with energy and power and detail and dimension, better than the best movie you have ever seen. You and your family and your friends and your house and your dinner table and your garage have all the makings of a life of epic proportions, a story for the ages. Because they all are. Every life is. You have stories worth telling, memories worth remembering, dreams worth working toward, a body worth feeding, a soul worth tending, and beyond that, the God of the universe dwells within you, the true culmination of super and natural. You are more than dust and bones. You are spirit and power and image of God. And you have been given Today.

At one time I thought the most important thing was talent. I think now that — the young man or the young woman must possess or teach himself, train himself, in infinite patience, which is to try and to try and to try until it comes right. He must train himself in ruthless intolerance. That is, to throw away anything that is false no matter how much he might love that page or that paragraph. The most important thing is insight, that is ... curiosity to wonder, to mull, and to muse why it is that man does what he does. And if you have that, then I don't think the talent makes much difference, whether you've got that or not. [Press conference, University of Virginia, May 20, 1957]

I write to find strength. I write to become the person that hides inside me. I write to light the way through the darkness for others. I write to be seen and heard. I write to be near those I love. I write by accident, promptings, purposefully and anywhere there is paper. I write because my heart speaks a different language that someone needs to hear. I write past the embarrassment of exposure. I write because hypocrisy doesn’t need answers, rather it needs questions to heal. I write myself out of nightmares. I write because I am nostalgic, romantic and demand happy endings. I write to remember. I write knowing conversations don’t always take place. I write because speaking can’t be reread. I write to sooth a mind that races. I write because you can play on the page like a child left alone in the sand. I write because my emotions belong to the moon; high tide, low tide. I write knowing I will fall on my words, but no one will say it was for very long. I write because I want to paint the world the way I see love should be. I write to provide a legacy. I write to make sense out of senselessness. I write knowing I will be killed by my own words, stabbed by critics, crucified by both misunderstanding and understanding. I write for the haters, the lovers, the lonely, the brokenhearted and the dreamers. I write because one day someone will tell me that my emotions were not a waste of time. I write because God loves stories. I write because one day I will be gone, but what I believed and felt will live on.