Quote of the Day
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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.
The newspaper is, in fact, very bad for one's prose style. That's why I gravitated towards feature stories where you get a little more leeway in the writing style.
For me, writing essays, prose and fiction is a great way to be self-indulgent.
The lines of poetry, the period of prose, and even the texts of Scripture most frequently recollected and quoted, are those which are felt to be preeminently musical.
There were aspects of stardom I didn't like, which were of no consequence, really, but the positive things far outweighed the negative. By the time I came to write 'Setting Sons,' I felt my writing was more like prose, set to music.
'The Sound of Things Falling' may be a page turner, but it's also a deep meditation on fate and death. Even in translation, the superb quality of Vasquez's prose is evident, captured in Anne McLean's idiomatic English version. All the novel's characters are well imagined, original and rounded.
There is a strong tendency in explanatory prose to invoke quantities of tension, energy, and whatnot to explain the genesis of pattern. I believe that all such explanations are inappropriate or wrong.
Many of today's verses are prose and bad prose.
Stylized acting and direction is to realistic acting and direction as poetry is to prose.
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.
What I do say is that I can write verse, and that the writing of verse in strict form is the best possible training for writing good prose.
My early prose style - this is so embarrassing - was sort of a suburban, Presbyterian knockoff of Woody Allen.
Eloquence is the poetry of prose.
William C. Bryant
I write novellas because I don't like loose sprawling prose.
I started out as a writer. Poetry and prose and also kind of satirical David Sedaris-esque stuff.
Cliches and adjectives permeated my prose.
Writing anything is terribly hard but, alas for me, because I am addicted, a heck of a lot of fun. I often am sorry I ever started writing prose, because it is so hard. But I can't stop.
I think graphic novels are closer to prose than film, which is a really different form.
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.
The tradition of Russian literature is also an eastern tradition of learning poetry and prose by heart.
Prose talks and poetry sings.
The trouble with us in America isn't that the poetry of life has turned to prose, but that it has turned to advertising copy.
I fantasised about F. Scott Fitzgerald's 'The Great Gatsby' - I loved it, and then I read everything J. D. Salinger had to offer. Then I was turned on to Kerouac, and his spontaneous prose, his stream of consciousness way of writing. I admired him so much, and I romanticised so much about the '40s and '50s.
I really - I don't take my work that seriously, and I think that's what keeps me loose. If I try to write, if I catch myself trying to write, I'll fall right on my face. I'll see it. If I see in the prose that I'm - 'Boy, look at me writing,' I rewrite it. I rewrite it because I don't, because I think it's distracting.
The most important tribute any human being can pay to a poem or a piece of prose he or she really loves is to learn it by heart. Not by brain, by heart; the expression is vital.
A. P. J. Abdul Kalam
John F. Kennedy
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