Creative Process Quotes - Page 2

There is a juiciness to creativity, a succulence that comes up from within, a sensuality which both produces and is soothed by the act and product of creativity. Creativity is pleasing to us on a deep level. Be it the feel of clay in our hands, the colors that make us feel alive as we knit or sew, the meaning that we find in the words that we write, the energizing feel of movement as we dance and the music moves through our bodies. Taking part in creativity helps us to be more fully alive on every level, it asks that we engage with life in a visceral, and interactive way.

[A]lways get to the dialogue as soon as possible. I always feel the thing to go for is speed. Nothing puts the reader off more than a big slab of prose at the start.", Issue 64, Winter 1975)

Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is non-existent. And don’t bother concealing your thievery - celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from - it’s where you take the

Years and years ago, I read a great interview with Jam and Lewis, the R&B producers, in which they described what it was like to be members of Prince's band. They'd sit down, and Prince would tell them what he wanted them to play, and they'd explain that they couldn't--they weren't quick enough, or good enough. And Prince would push them and push them until they mastered it, and then just when they were feeling pleased with themselves for accomplishing something they didn't know they had the capacity for, he'd tell them the dance steps he needed to accompany the music.This story has stuck with me, I think, because it seems like an encapsulation of the very best and most exciting kind of creative process.

We can’t turn our true selves off and on situationally and expect them to carry and sustain us. Rationing creativity results in bipolarism of the spirit. Our creativity is also our life force. When we turn it off and on like a spigot, we start to become less and less able to control the valve.

Oh God, for a few who will love me in tiny ways every single day of my flashing existence. For a mere one or two who will treat me like the trash I am, who will love the smell of garbage and rummage through the bin of my failings to find the wrapped cheeseburger they can do without but consider long enough to get their taste buds used to the idea. Oh for a melodious tongue to sing me a song about french fries.

You are one thing only. You are a Divine Being. An all-powerful Creator. You are a Deity in jeans and a t-shirt, and within you dwells the infinite wisdom of the ages and the sacred creative force of All that is, will be and ever was.

A writer can do without food for a few hours, but not without the sight of books.

Be a sadist. No matter how sweet and innocent your leading characters, make awful things happen to them -- in order that the reader may see what they are made of."[From the preface.]

When I write, I fall into the zone many writers, painters, musicians, athletes, and craftsmen of all sorts seem to share: In doing something I enjoy and am expert at, deliberate thought falls aside and it is all just THERE. I think of the next word no more than the composer thinks of the next note.

Some of the greatest masterpieces of art are created against the odds of reality.from the book: stuff i think about

Create a world in front of your readers where they can taste, smell, touch, hear, see, and move. Else they are likely going to move on to another book.

Developing the skill of creativity, like with any other skill, takes time. Do devote time to creativity. Honor its flow and its magic. Allow it to become your Life Force. Train Creativity daily.

To write is to feel the dance of your soul swirling in a dream that drips imagination onto paper.

Words are the residue that I was there, that I loved my wife, that I kissed my children goodnight, that I sacrificed my life for them. Words are a curse. Life is a curse. Words escape life. Life escapes words. What in God's name am I? How does someone name a God? What is it to name yourself?

Maybe everyone does have a novel in them, perhaps even a great one. I don't believe it, but for the purposes of this argument, let's say it's so. Only a few of us are going to be willing to break our own hearts by trading in the living beauty of imagination for the stark disappointment of words.

Theater is the crucible where we can create the dynamics of life without suffering the flames of their combustion.

Writing a story is like going on a date—you will spoil it if you aren't living in the moment.

[T]he success of every novel -- if it's a novel of action -- depends on the high spots. The thing to do is to say to yourself, "What are my big scenes?" and then get every drop of juice out of

Catching creativity is like catching butterflies – fast-flying, bright-colored sparks darting here and there, it requires quick wits, good eyes and desire to net them. And once you have them, you need to act fast. An idea, like a butterfly doesn’t last long: it is ephemeral. It is here, and now it is gone – so quick, grab your laptop, your pen and paper, your Dictaphone, your sketch pad, whatever your mode of expression or recording, swoop and catch.

Doubt has become the veritable wellspring of my creative process and my philosophic explorations. It has equipped me with the temerity and wherewithal to question certain truths deemed ‘fundamental’ by my betters. Defiance has made me stubborn—possibly even arrogant—enough to shrug off rejection and all fears thereof, no matter how lacerating to the self-esteem these could be. It has given me the will to seek only to satisfy myself.

The sooner you finish procrastinating, the sooner you can get back to your art.

[N]othing about a book is so unmistakable and so irreplaceable as the stamp of the cultured mind. I don't care what the story is about or what may be the momentary craze for books that appear to have been hammered out by the village blacksmith in a state of intoxication; the minute you get the easy touch of the real craftsman with centuries of civilisation behind him, you get literature.

When describing nature, a writer should seize upon small details, arranging them so that the reader will see an image in his mind after he closes his eyes. For instance: you will capture the truth of a moonlit night if you'll write that a gleam like starlight shone from the pieces of a broken bottle, and then the dark, plump shadow of a dog or wolf appeared. You will bring life to nature only if you don't shrink from similes that liken its activities to those of human

Dance above the surface of the world. Let your thoughts lift you into creativity that is not hampered by opinion.

Go for broke. Always try and do too much. Dispense with safety nets. Take a deep breath before you begin talking. Aim for the stars. Keep grinning. Be bloody-minded. Argue with the world. And never forget that writing is as close as we get to keeping a hold on the thousand and one things--childhood, certainties, cities, doubts, dreams, instants, phrases, parents, loves--that go on slipping , like sand, through our fingers.

The mind I love most must have wild places, a tangled orchard where dark damsons drop in the heavy grass, an overgrown little wood, the chance of a snake or two, a pool that nobody fathomed the depth of, and paths threaded with flowers planted by the mind.

Every morning I jump out of bed and step on a landmine. The landmine is me. After the explosion, I spend the rest of the day putting the pieces together.

In writing. Don't use adjectives which merely tell us how you want us to feel about the thing you are describing. I mean, instead of telling us a thing was "terrible," describe it so that we'll be terrified. Don't say it was "delightful"; make us say "delightful" when we've read the description. You see, all those words (horrifying, wonderful, hideous, exquisite) are only like saying to your readers, "Please will you do my job for me.", 26 June 1956]

I could write about how I feel when I sing, write and create something from heartbreak, sorrow, sadness or just simply nothingness. How nothingness can become the most beautiful, unexplainable feeling that makes you forget about gravity for an hour.

In every situation, at the beginning or end of the workday, you have a choice. You can look back or you can look forward. My advice: look forward. Always think about the next day. Don't go into the studio thinking, 'Hmmm, let's see what I was doing yesterday?' It takes more energy to twist yourself around and look back that it does to face forward.

We love to learn because learning feels good. It both satisfies and stimulates curiosity. Reading a good book, having a meaningful conversation, listening to great music—just doing these things make us happy. They have no extrinsic purpose. To give them one takes away from their joy.

The artistic methods of poetry, painting, photography, and writing share certain commonalities of deep composition: spirit, rhythm, thought, and scenery.

Don't look back until you've written an entire draft, just begin each day from the last sentence you wrote the preceding day. This prevents those cringing feelings, and means that you have a substantial body of work before you get down to the real work which is all in ... the

In order to create you have to believe in your ability to do so and that often means excluding whole chunks of normal life, and, of course, pumping yourself up as much as possible as a way of keeping on. Sort of cheering for yourself in the great football stadium of

Every story has already been told. Once you've read Anna Karenina, Bleak House, The Sound and the Fury, To Kill a Mockingbird and A Wrinkle in Time, you understand that there is really no reason to ever write another novel. Except that each writer brings to the table, if she will let herself, something that no one else in the history of time has ever

If you think there is no time to write now, there would never be.

The writer who loses his self-doubt, who gives way as he grows old to a sudden euphoria, to prolixity, should stop writing immediately: the time has come for him to lay aside his pen.

The trick, of course, is to lose one day and come back to win the next. But that is possible only when we draw healthy pleasure and confidence from our creative processes.

For the fact is that disorder is the condition of the mind's fertility: it contains the mind's promise, since its fertility depends on the unexpected rather than the expected, depends on what we do not know, and because we do not know it, than what we know.

You can’t let fear and indecision sink your creativity—they do not easily release their hold.

Like most artists, everything I produced was connected to who I was - and so I suffered according to how my work was received. The idea that anyone might be able to detach their personal value from their public output was revolutionary.

... The Book is more important than your plans for it. You have to go with what works for The Book ~ if your ideas appear hollow or forced when they are put on paper, chop them, erase them, pulverise them and start again. Don't whine when things are not going your way, because they are going the right way for The Book, which is more important. The show must go on, and so must The Book.

Listen to what you have written. A dud rhythm in a passage of dialogue may show that you don't yet understand the characters well enough to write in their vo

The characteristic common to God and man is apparently that: the desire and the ability to make things.

Bringing a novel to light - revealing the form and cadence, shadows and demeanor of a protagonist constructed from thin air - linking scenes and synchronicity across translucent time - holding up a glass brimming with chilled, never-tasted liquid, then sipping from it with intoxicated focus - allowing lovers to make a perilous mess of things, fall apart and nakedly come back together again - looking through conjured windows deep into someone else’s snow-bound solitude, feeling utterly alone yet being all-connected: this is not writing. It’s world-creating.It’s raw, exposed dreaming. It’s humbling. At first too personal and intimate to share, it evolves like a child into a life of its own until I have no say in what comes next. It’s what I wake at 4am to say Yes to, the spinning possibility of a new story relentlessly commanding me to write it down so it can whirl in your experience.

A story has no beginning or end: arbitrarily one chooses that moment of experience from which to look back or from which to look ahead.

Yes, you are creative and in slow, languid times, creativity peers out of your soul like a field mouse from its burrow at night.

When someone asks me what a song is about, it’s like, I feel like I might ruin it if you ask me that. I feel like I did my best to explain the song in the song on its own terms as a song.

Creative work is often driven by pain. It may be that if you don't have something in the back of your head driving you nuts, you may not do anything. It's not a good arrangement. If I were God, I wouldn't have done it that way., Nov. 20, 2009]

Never forget,Each day that we have together is a precious gift.In the web of daily living, we are creating character.Let's take the time to create memories, listen and observe.Time flees, and it does not return.If we lose today, it is gone forever.Let's live for the present, and be prepared for the future. Let's grow strong, let's grow bigger, let's grow TOGETHER!

The writer must have a good imagination to begin with, but the imagination has to be muscular, which means it must be exercised in a disciplined way, day in and day out, by writing, failing, succeeding and revi

Beauty surrounds us, but oftentimes it takes a person with a poetic perception, an artist’s way of looking at the world, to first notice the sublime, and then stagecraft the splendor of nature so that other people can perceive their synoptic vision. The spirit and aesthetic intention behind the work is what assigns the work its artistic quality. Great works of poetry and writing, for instance, express not simply a criticism of life, but also encompass a philosophy for living.

To express yourself in a creative way you don't need structure you need an empty mind.

Any man who keeps working is not a failure. He may not be a great writer, but if he applies the old-fashioned virtues of hard, constant labor, he'll eventually make some kind of career for himself as writer."]

There is seven-eights of it under water for every part that shows. Anything you know you can eliminate and it only strengthens your iceberg. It is the part that doesn't show. If a writer omits something because he does not know it then there is a hole in the story., 1958)

Art manifests itself in paradoxical ways. At times it creates and at times it gets created!

You kind of attribute this magic to music and as you meet the people you realize that they don’t contain the magic. They just channel it a little bit sometimes, but they never possess it. They never own it.

All great talents are never found in rich exquisite locales with perfect setting that enhance their creative works, but on the contrary are found in the most obnoxious circumstances yet are unaffected by them and create masterpieces at the most unpredictable situations, just like a lotus flower blossoming in a muddy pond!

Editors can be stupid at times. They just ignore that author’s intention. I always try to read unabridged editions, so much is lost with cut versions of classic literature, even movies don’t make sense when they are edited too much. I love the longueurs of a book even if they seem pointless because you can get a peek into the author’s mind, a glimpse of their creative soul. I mean, how would people like it if editors came along and said to an artist, ‘Whoops, you left just a tad too much space around that lily pad there, lets crop that a bit, shall we?’. Monet would be ripping his hair out.