16:27 23rd Mar 2012

Notes: 7448

01:07 22nd Mar 2012

Notes: 16

Because it takes practice. Because I can’t help it. Because it teaches me that failure is necessary. Because it makes me feel brave. Because it’s worth waiting for the right metaphor. Because, “metaphor,” really means, “person.” Because I don’t ever want to forget how his kiss crept over my skin in the car that day. Because when we jumped in the river, the water snuck into our hair and made us shiver. Because time can only smell like buttermilk biscuits on paper, and my arms aren’t actually fifteen-years long, and it’s weird to tell people over coffee that the color green feels like home. Because, like most worthwhile things, it’s difficult.

Because some words are too thick for air.

— Why I Write On Days I Don’t Feel Like Writing (via merryandtragical)

19:58 20th Mar 2012

Notes: 116

Reblogged from guynn

Do you see that creamy, lemon-yellow moon?
There are some people, unlike me and you,

who do not yearn after fame or love or quantities of money as
unattainable as that moon;
thus, they do not later
have to waste more time
defaming the object of their former ardor.

Or consequently run and crucify themselves
in some solitary midnight Starbucks Golgotha.

I have news for you—
there are people who get up in the morning and cross a room

and open a window to let the sweet breeze in

and let it touch them all over their faces and bodies.

— Excerpt from “I Have News For You,” Tony Hoagland (via shinjimoon)

(Source: clavicola)

01:45 18th Mar 2012

Notes: 6

Reblogged from paywhatyouwant

paywhatyouwant:

“Steal Like An Artist” Book and VIDEO

This is a new book by Austin Kleon targeted for young creative people. Here is a deeper look into the book. You can also watch the trailer he’s done for it, below. It would make a great gift to a teen, who’s still trying to find their way.

15:07 17th Mar 2012

Notes: 7120

Reblogged from takemefully

We had everything to say to each other, but no ways to say it.

— Jonathan Safran Foer (via smited)

02:35 15th Mar 2012

Notes: 11292

Reblogged from hopeinhealing

Six Tips on Writing from John Steinbeck
Abandon the idea that you are ever going to finish. Lose track of the 400 pages and write just one page for each day, it helps. Then when it gets finished, you are always surprised.
Write freely and as rapidly as possible and throw the whole thing on paper. Never correct or rewrite until the whole thing is down. Rewrite in process is usually found to be an excuse for not going on. It also interferes with flow and rhythm which can only come from a kind of unconscious association with the material.
Forget your generalized audience. In the first place, the nameless, faceless audience will scare you to death and in the second place, unlike the theater, it doesn’t exist. In writing, your audience is one single reader. I have found that sometimes it helps to pick out one person—a real person you know, or an imagined person and write to that one.
If a scene or a section gets the better of you and you still think you want it—bypass it and go on. When you have finished the whole you can come back to it and then you may find that the reason it gave trouble is because it didn’t belong there.
Beware of a scene that becomes too dear to you, dearer than the rest. It will usually be found that it is out of drawing.
If you are using dialogue—say it aloud as you write it. Only then will it have the sound of speech.

Six Tips on Writing from John Steinbeck

Abandon the idea that you are ever going to finish. Lose track of the 400 pages and write just one page for each day, it helps. Then when it gets finished, you are always surprised.

Write freely and as rapidly as possible and throw the whole thing on paper. Never correct or rewrite until the whole thing is down. Rewrite in process is usually found to be an excuse for not going on. It also interferes with flow and rhythm which can only come from a kind of unconscious association with the material.

Forget your generalized audience. In the first place, the nameless, faceless audience will scare you to death and in the second place, unlike the theater, it doesn’t exist. In writing, your audience is one single reader. I have found that sometimes it helps to pick out one person—a real person you know, or an imagined person and write to that one.

If a scene or a section gets the better of you and you still think you want it—bypass it and go on. When you have finished the whole you can come back to it and then you may find that the reason it gave trouble is because it didn’t belong there.

Beware of a scene that becomes too dear to you, dearer than the rest. It will usually be found that it is out of drawing.

If you are using dialogue—say it aloud as you write it. Only then will it have the sound of speech.

(Source: nevver)