Notebook With Inspirational Quotes

You can't live your life for other people. You've got to do what's right for you, even if it hurts some people you love.

What's terrible is to pretend that second-rate is first-rate. To pretend that you don't need love when you do; or you like your work when you know quite well you're capable of better.

The reason it hurts so much to separate is because our souls are connected. Maybe they always have been and will be. Maybe we've lived a thousand lives before this one and in each of them we've found each other. And maybe each time, we've been forced apart for the same reasons. That means that this goodbye is both a goodbye for the past ten thousand years and a prelude to what will come.

Poetry, she thought, wasn't written to be analyzed; it was meant to inspire without reason, to touch without understanding.

Obscurity and a competence—that is the life that is best worth living.

Maybe we've lived a thousand lives before this one and in each of them we've found each other... I know I've spent each life before this one searching for you. Not someone like you but you, for your soul and mine must always come together.

For my part I know nothing with any certainty, but the sight of the stars makes me want to dream.

When the poet Paul Valery once asked Albert Einstein if he kept a notebook to record his ideas, Einstein looked at him with mild but genuine surprise. "Oh, that's not necessary," he replied . "It's so seldom I have one.

He looked at her. She was pretty still, with thick hair and soft eyes, and she moved so gracefully that it almost seemed as though she were gliding. He'd seen beautiful women before, though, women who caught his eye, but to his mind, they usually lacked the traits he found most desirable. Traits like intelligence, confidence, strength of spirit, passion, traits that inspired others to greatness, traits he aspired to himself.

Light is more important than the lantern, The poem more important than the notebook

Self-respect. It would make me lovable. And it's the secret to good sex.

One can never ask anyone to change a feeling.

The romantics would call this a love story, the cynics would call it a tragedy. In my mind it’s a little bit of both, and no matter how you choose to view it in the end, it does not change the fact that it involves a great deal of my life and the path I’ve chosen to follow.

Nothing is mysterious, no human relation. Except love.

The second thing you have to do to be a writer is to keep on writing. Don't listen to people who tell you that very few people get published and you won't be one of them. Don't listen to your friend who says you are better that Tolkien and don't have to try any more. Keep writing, keep faith in the idea that you have unique stories to tell, and tell them. I meet far too many people who are going to be writers 'someday.' When they are out of high school, when they've finished college, after the wedding, when the kids are older, after I retire . . . That is such a trap You will never have any more free time than you do right now. So, whether you are 12 or 70, you should sit down today and start being a writer if that is what you want to do. You might have to write on a notebook while your kids are playing on the swings or write in your car on your coffee break. That's okay. I think we've all 'been there, done that.' It all starts with the writing.

I sometimes think my head is so large because it is so full of dreams.

So tonight I reach for my journal again. This is the first time I’ve done this since I came to Italy. What I write in my journal is that I am weak and full of fear. I explain that Depression and Loneliness have shown up, and I’m scared they will never leave. I say that I don’t want to take the drugs anymore, but I’m frightened I will have to. I am terrified that I will never really pull my life together. In response, somewhere from within me, rises a now-familiar presence, offering me all the certainties I have always wished another person would say to me when I was troubled. This is what I find myself writing on the page: I’m here. I love you. I don’t care if you need to stay up crying all night long. I will stay with you. If you need the medication again, go ahead and take it—I will love you through that, as well. If you don’t need the medication, I will love you, too. There’s nothing you can ever do to lose my love. I will protect you until you die, and after your death I will still protect you. I am stronger than Depression and Braver than Loneliness and nothing will ever exhaust me. Tonight, this strange interior gesture of friendship—the lending of a hand from me to myself when nobody else is around to offer solace—reminds me of something that happened to me once in New York City. I walked into an office building one afternoon in a hurry, dashed into the waiting elevator. As I rushed in, I caught an unexpected glance of myself in a security mirror’s reflection. In that moment, my brain did an odd thing—it fired off this split-second message: “Hey! You know her! That’s a friend of yours!” And I actually ran forward toward my own reflection with a smile, ready to welcome that girl whose name I had lost but whose face was so familiar. In a flash instant of course, I realized my mistake and laughed in embarrassment at my almost doglike confusion over how a mirror works. But for some reason that incident comes to mind again tonight during my sadness in Rome, and I find myself writing this comforting reminder at the bottom of the page. Never forget that once upon a time, in an unguarded moment, you recognized yourself as a FRIEND… I fell asleep holding my notebook pressed against my chest, open to this most recent assurance. In the morning when I wake up, I can still smell a faint trace of depression’s lingering smoke, but he himself is nowhere to be seen. Somewhere during the night, he got up and left. And his buddy loneliness beat it, too.

Deep down within the heart there is a stillness which is healing, a trust in the universal laws which is unwavering, and a strength which is rock-like. But because it is so deep we need both patience and perseverance when digging for it.

our demons lose their power when we pull them out of the depths where they hide and look them in the face in broad daylight.

Can I love someone...and still think/fly? Love is flying, sown, floating. Thought is solitary flight, beating wings.

The water you touch in a river is the last of that which has passed, and the first of that which is coming. Thus it is with time present. Life, if well spent, is long.

There are two kinds of truth: the truth that lights the way and the truth that warms the heart. The first of these is science, and the second is art. Neither is independent of the other or more important than the other. Without art science would be as useless as a pair of high forceps in the hands of a plumber. Without science art would become a crude mess of folklore and emotional quackery. The truth of art keeps science from becoming inhuman, and the truth of science keeps art from becoming ridiculous." (Great Thought, February 19, 1938)

Accept the long night patiently, quietly, humbly, and resignedly as intended for your true good. It is not a punishment for sin committed but an instrument of annihilating egoism.

This withdrawal from the day's turmoil into creative silence is not a luxury, a fad, or a futility. It is a necessity, because it tries to provide the conditions wherein we are able to yield ourselves to intuitive leadings, promptings, warnings, teachings, and counsels and also to the inspiring peace of the soul. It dissolves mental tensions and heals negative emotions.

Wanderess, Wanderess, weave us a story of seduction and ruse. Heroic be the Wanderess, the world be her muse.' ...I jot this phrase of invocation in my old leather-bound notebook on a bright, cold morning at the Café **** in Paris, and with it I’m inspired to take the reader back to the time I first met and became acquainted with the girl I call The Wanderess—as well as a famous adventurer named Saul, the Son of Solarus.

My works are like water. The works of the great masters are like wine. But everyone drinks water. - From Mark Twain's Notebook, 1885

Living in the present moment means living according to truth and principle (but not according to hard rigid dogma) flexibly applied in the particular way required by the immediate situation in which you are. Such a way of living leaves you free, not ruled tyrannically by imposed regulations which may not at all suit the particular case.

Poetry wasn't written to be analysed: it was meant to inspire without reason, to touch without understanding.

Life is the ultimate artistic masterpiece, and it's up to you, the creator, to make it as wildly dazzling as possible.

On our way home we throw the apples, the biscuits, the chocolate and the coins in the tall grass by the roadside. It is impossible to throw away the stroking on our hair

What is hell to a writer? Hell is being too busy to find the time to write or being unable to find the inspiration. Hell is suddenly finding the words but being away from your notebook or typewriter. Hell is when the verses slip away through your fingers and they never return again.

Don’t dash off a six-thousand-word story before breakfast. Don’t write too much. Concentrate your sweat on one story, rather than dissipate it over a dozen. Don’t loaf and invite inspiration; light out after it with a club, and if you don’t get it you will none the less get something that looks remarkably like it. Set yourself a “stint,” [London wrote 1,000 words nearly every day of his adult life] and see that you do that “stint” each day; you will have more words to your credit at the end of the year. Study the tricks of the writers who have arrived. They have mastered the tools with which you are cutting your fingers. They are doing things, and their work bears the internal evidence of how it is done. Don’t wait for some good Samaritan to tell you, but dig it out for yourself. See that your pores are open and your digestion is good. That is, I am confident, the most important rule of all. Keep a notebook. Travel with it, eat with it, sleep with it. Slap into it every stray thought that flutters up into your brain. Cheap paper is less perishable than gray matter, and lead pencil markings endure longer than memory. And work. Spell it in capital letters. WORK. WORK all the time. Find out about this earth, this universe; this force and matter, and the spirit that glimmers up through force and matter from the maggot to Godhead. And by all this I mean WORK for a philosophy of life. It does not hurt how wrong your philosophy of life may be, so long as you have one and have it well. The three great things are: GOOD HEALTH; WORK; and a PHILOSOPHY OF LIFE. I may add, nay, must add, a fourth—SINCERITY. Without this, the other three are without avail; with it you may cleave to greatness and sit among the giants." [Getting Into Print (The Editor magazine, March 1903)]

You can make it all right if you will only be satisfied to remain small,' I told myself. I had to keep saying it over and over to myself. 'Be little. Don't try to be big. Work under the guns. Be a little worm in the fair apple of life.' I got all of these sayings at my tongue's end, used to go through the streets of Chicago muttering them to myself.

I've always said "Writer's Block" is a myth. There is no such thing as writer's block, only writers trying to force something that isn't ready yet. Sometimes I don't write for weeks. And then all of the sudden I'll get a rush of inspiration and you can't drag me away from my notebook. But I don't stress out if I don't hit some arbitrary word count each day or if I go a few days without writing something.

– Then why are you begging? – To find out what effect it has and to observe people’s reaction

Life says: " Write down your experiences in a notebook, not on a blackboard. Don't start with a clean slate, but with a new page, so you can look back.

I can explain, There’s no need, I’ve been keeping regular track of your activities, and, besides, your notebook has been a great help to me, may I take the opportunity to congratulate you on the excellent style and the appropriateness of the language, I’ll hand in my resignation tomorrow, I won’t accept it.

I don't believe there's ever been a 'good' first draft, but there's a reason for that: they don’t have to be. First drafts are part of the process; they're the rough diamond on their way to being cut and polished. It takes a while to get them to shine.

Your dreams and your imagination are the keys to ART so capture all of yours in this notebook.....

Always carry with you a pen and a notebook or a journal to write the thoughts that flashes in a moments.

Daring soul has five diaries; gratitude, work, inspirational, prayer and language diaries.

The power of writing is phenomenal.

Swear to me that no matter what happens, no matter how hurt you get, you'll still be that serial killer writer, that strong, beautiful chick I was obsessed with in high school. Promise me you'll always go down swinging, and that you'll get back up with that smile that can corrupt a saint

I bet Hemingway never let his notebook out of his sight. Inspiration hits at the oddest times; a writer needs to be prepared….And some of my best stuff comes when I’m not thinking about anything in particular.

Don’t seek to emulate other writers. Don’t pay heed to how others say your tales should be written. And don’t ever change your writing on account of anything or anyone. Your stories are your own, so write them your way.

I think that a true writer will keep on writing, no matter what. Even if they don’t get published, even if they’re constantly faced with criticism… they’ll keep writing. The act is essential to a writer’s existence. Without it, life would have no meaning.

The first time I write my full name Jacqueline Amanda Woodson without anybody' help on a clean white page in my composition notebook, I know If I wanted to I could write anything Letters becoming words, words gathering meaning, becoming thoughts outside my head becoming sentences written by Jacqueline Amanda Woodson

We are always people that are in the making, constantly adapting to accommodate the roads we walk. As we learn, it changes us. As we go about our course, we grow, and prune everything around us; friends, beliefs, desires. Our past experiences plant the seeds needed for our future roads, with all its turns, speed, and treachery.

I'm not sure if people understand what it means to be a writer. It's not like it feels so great. I mean, most of the time you are sitting at your desk and bleeding out onto your computer screen, your notepad, your notebook... there's a lot of bleeding that goes on when you're a writer! You don't just work to sell books, you work to bind your wounds and put your skin back together again after opening yourself up all over the place! I don't know how other writers write... but this is how I write.

Sunset. Tears. "Good work," Miss Wilson said as she bent over my notebook. "You got the prompt down again today." Tears are words Waiting to be written. -Jennie Englund-

If the gooseberry said: 'I haven't the heart to be a real proper gooseberry because if everyone were a gooseberry the world wouldn't continue to exist' this would be a stupid argument and the world would be deprived of a useful fruit. If you are called upon to be a 'gooseberry' in all the senses--pleasant or ludicrous--of the word, you should be one with all your heart and soul, without a backward glance.

Bisognerebbe saper attendere, raccogliere, per una vita intera e possibilmente lunga, senso e dolcezza, e poi, proprio alla fine, si potrebbero forse scrivere dieci righe valide. Perché i versi non sono, come crede la gente, sentimenti (che si acquistano precocemente), sono esperienze. Per scrivere un verso bisogna vedere molte città, uomini e cose, bisogna conoscere gli animali, bisogna capire il volo degli uccelli e comprendere il gesto con cui i piccoli fiori si aprono al mattino. Bisogna saper ripensare a itinerari in regioni sconosciute, a incontri inaspettati e congedi previsti da tempo, a giorni dell'infanzia ancora indecifrati, ai genitori che eravamo costretti a ferire quando portavano una gioia e non la comprendevamo (era una gioia per qualcun altro), a malattie infantili che cominciavano in modo così strano con tante profonde e grevi trasformazioni, a giorni in stanze silenziose e raccolte e a mattine sul mare, al mare sopratutto, a mari, a notti di viaggio che passavano con un alto fruscio e volavano assieme alle stelle - e ancora non è sufficiente poter pensare a tutto questo. Bisogna avere ricordi di molte notti d'amore, nessuna uguale all'altra, di grida di partorienti e di lievi, bianche puerpere addormentate che si rimarginano. Ma bisogna anche essere stati accanto ad agonizzanti, bisogna essere rimasti vicino ai morti nella stanza con la finestra aperta e i rumori intermittenti. E non basta ancora avere ricordi. Bisogna saperli dimenticare, quando sono troppi, e avere la grande pazienza di attendere che ritornino. Perché i ricordi in sé ancora non sono. Solo quando diventano sangue in noi, sguardo e gesto, anonimi e non più distinguibili da noi stessi, soltanto allora può accadere che in un momento eccezionale si levi dal loro centro e sgorghi la prima parola di un verso.

It was on the steamer carrying him through the Golden Gate that he happened to reach down into the hole in the lining of the right pocket of his overcoat and discover the envelope that his brother had solemnly handed to him almost a month before. It contained a single piece of paper, which Thomas had hastily stuffed into it that morning as they all were leaving the house together for the last time, by way or in lieu of expressing the feelings of love, fear, and hopefulness that his brother's escape inspired. It was the drawing of Harry Houdini, taking a calm cup of tea in the middle of the sky, that Thimas had made in his notebook during his abortive career as a librettist. Josef studied it, feeling as he sailed toward freedom as if he weighed nothing at all, as if every precious burden had been lifted from him.

[Patricia Highsmith] went on to recommend that aspiring writers keep a notebook in which to jot down thoughts or ideas, that they should trust in the power of the unconscious and that they shouldn't force inspiration. In addition, it was important to avoid those who negated the creative process, sometimes people per se. 'The plane of social intercourse,' she said, 'is not the plane of creation, not the plane on which creative ideas fly [...] This is a curious thing, because sometimes the very people we are attracted to or in love with act as effectively as rubber insulators to the spark of inspiration.

Dr. Mary Atwater's story was so inspiring. Growing up, Dr. Atwater had a dream to one day be a teacher. But as a black person in the American South during the 1950s, she didn't have many great educational opportunities. It didn't help that she was also a girl, and a girl who loved science, since many believed that science was a subject only for men. Well, like me, she didn't listen to what others said. And also like me, Dr. Atwater had a father, Mr. John C. Monroe, who believed in her dreams and saved money to send her and her siblings to college. She eventually got a PhD in science education with a concentration in chemistry. She was an associate director at New Mexico State University and then taught physical science and chemistry at Fayetteville State University. She later joined the University of Georgia, where she still works as a science education researcher. Along the way, she began writing science books, never knowing that, many years down the road, one of those books would end up in Wimbe, Malawi, and change my life forever. I'd informed Dr. Atwater that the copy of Using Energy I'd borrowed so many times had been stolen (probably by another student hoping to get the same magic), so that day in Washington, she presented me with my own copy, along with the teacher's edition and a special notebook to record my experiments. "Your story confirms my belief in human beings and their abilities to make the world a better place by using science," she told me. "I'm happy that I lived long enough to see that something I wrote could change someone's life. I'm glad I found you." And for sure, I'm also happy to have found Dr. Atwater.

You are supposed to stand before a congregation, brimming over with a great message. Here I am trying to find a new little message each Sunday. If I really had great convictions I suppose they would struggle for birth each week. As the matter stands, I struggle to find an idea worth presenting and I almost dread the approach of a new sabbath. I don’t know whether I can ever accustom myself to the task of bringing light and inspiration in regular weekly installments. How in the world can you reconcile the inevitability of Sunday and its task with the moods and caprices of the soul? The prophet speaks only when he is inspired. The parish preacher must speak whether he is inspired or not. I wonder whether it is possible to live on a high enough plane to do that without sinning against the Holy Spirit.

My brother says I don't talk enough so he hoped this notebook would give me a place to put my thoughts. Every now and then, I dress my thoughts in the clothing of a poem. Try to figure out if my world changes once I set down these words. This was the first time someone gave me a place to collect my thoughts. In some ways, it seemed like he was saying that my thoughts were important. From that day forward I've written every single day. Sometimes it seems like writing is the only way I keep from hurting.

He sees the truth as with a jolt. There it is, within his own being, lying deep down but still in his own self. There never was any need to travel anywhere to find it; no need to visit anyone who was supposed to have it already, and sit at his feet; not even to read any book, however sacred or inspired. Nor could another person, place, or writing give it to him--he would have to unveil it for himself in himself. The others could direct him to look inwards, thus saving all the effort of looking elsewhere. But he himself would have to give the needful attention to himself. The discovery must be his own, made within the still centre of his being.

[The Great Gatsby] is a tour de force of revision. So much so that critics, who rarely mention the edit of a book, commented on the quality of Gatsby's rewriting, not just its writing, in reviews. For H. L. Mencken, the novel had 'a careful and brilliant finish. ... There is evidence in every line of hard work and intelligent effort. ... The author wrote, tore up, rewrote, tore up again. There are pages so artfully contrived that one can no more imagine improvising them than one can imagine improvising a fugue.' ... Careful, sound, carefully written, hard effort, wrote and rewrote, artfully contrived not improvised, structure, discipline: all these terms refer, however obliquely, not to the initial act of inspiration, but to editing. Organization and clarity do not dominate the writing process. At some point, though, a writer must pull coherence from confusion, illuminate what lives in shadow, shade what shines too brightly. Gatsby is the cat's meow case study of crossing what Michael Ondaatje calls 'that seemingly uncrossable gulf between an early draft of a book ... and a finished product' - in other words, editing.

People are too emotional about communism, or rather, about their own Communist Parties, to think about a subject that one day will be a subject for sociologists. Which is, the social activities that go on as a direct or indirect result of the existence of a Communist Party. People or groups of people who don’t even know it have been inspired, or animated, or given a new push into life because of the Communist Party, and this is true of all countries where there has been even a tiny Communist Party. In our own small town, a year after Russia entered the war, and the left had recovered because of it, there had come into existence (apart from the direct activities of the Party which is not what I am talking about) a small orchestra, readers’ circles, two dramatic groups, a film society, an amateur survey of the conditions of urban African children which, when it was published, stirred the white conscience and was the beginning of a long-overdue sense of guilt, and half a dozen discussion groups on African problems. For the first time in its existence there was something like a cultural life in that town. And it was enjoyed by hundreds of people who knew of the communists only as a group of people to hate. And of course a good many of these phenomena were disapproved of by the communists themselves, then at their most energetic and dogmatic. Yet the communists had inspired them because a dedicated faith in humanity spreads ripples in all directions.