The road to hell is paved with adverbs.
Science fiction writers, I am sorry to say, really do not know anything. We can't talk about science, because our knowledge of it is limited and unofficial, and usually our fiction is dreadful.
The road to hell is paved with leeks and potatoes
Sit down and put down everything that comes into your head and then you're a writer. But an author is one who can judge his own stuff's worth, without pity, and destroy most of it.
Everybody walks past a thousand story ideas every day. The good writers are the ones who see five or six of them. Most people don't see any.
If you write one story, it may be bad; if you write a hundred, you have the odds in your favor.
Everybody walks past a thousand story ideas every day.
Writing is turning one's worst moments into money.
Easy reading is damn hard writing.
The road to hell is paved with works-in-progress.
The road to hell is paved with good intentions.
Writing is like driving at night in the fog. You can only see as far as your headlights, but you can make the whole trip that way.
Don't tell me the moon is shining; show me the glint of light on broken glass.
No tears in the writer, no tears in the reader.
It is perfectly okay to write garbage – as long as you edit brilliantly.
I love deadlines. I like the whooshing noise they make as they go by.
Science fiction writers, I am sorry to say, really do not know anything.
Find the key emotion; this may be all you need know to find your short story.
The essence of drama is that man cannot walk away from the consequences of his own deeds.
Most books about writing are filled with bullshit. Fiction writers, present company included, don’t understand very much about what they do—not why it works when it’s good, not why it doesn’t when it’s bad.
It's probably a form of childish curiosity that keeps me going as a fiction writer. I ... want to open everybody's bureau drawers and see what they keep in there. I'm nosy.
As a fiction writer you train yourself to think about situations subjectively. I don't really care for narratives that are just A, B, C, D, and then E. I like the aura that fiction has, how it can conjure up dream imagery. It's a sort of emotional speculation that you can shape and work with.
I think it is our job, as writers, to be epic. Epic and tiny at the same time. If you're going to be a fiction writer, why not take on something that means something. In doing this, you must understand that within that epic structure it is the tiny story that is possibly more important.
If I write a paragraph and I don't get a certain lift from it, if I don't feel connected to it emotionally, then it's dead to me. When I'm reading other fiction writers, if I don't get any emotional investment from the writer, if it's just intellectual or clever - you know, most writing that passes as deep is just clever - I don't feel any connection.
I was looking at a lot of experimental writers, and I was very intrigued by short-short fiction, writers who would write little things, what I call buttons now, little vignettes.
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