Richard Bach Quotes

The writer doesn’t write for the reader. He doesn’t write for himself, either. He writes to serve…something. Somethingness. The somethingness that is sheltered by the wings of nothingness — those exquisite, enveloping, protecting wings.

I always wonder what drives us as Artists.

Divine fires do not blaze each day, but an artist functions in their afterglow hoping for their recurrence.

I don't think anybody can teach anybody anything. I think that you learn it, but the young writer that is as I say demon-driven and wants to learn and has got to write, he don't know why, he will learn from almost any source that he finds. He will learn from older people who are not writers, he will learn from writers, but he learns it -- you can't teach it.

I know that when I think of myself as being utterly worn out, when I think that somehow I have nothing more to write, then something is happening within me. And, in due course, it bubbles up; it comes to the surface, and then I do my best to listen. But there's nothing mystical about all this. I suppose all writers do the same.

Philip Larkin didn't write for several years before his life ended. And when he was asked why he didn't write, he said the muse deserted him. And when I read that, it really had a profound effect upon me, sort of scared me. So that's why I think I have no right to assume that some thought is going to come... But I think, in my imagination, if it is it, there will probably be something else I'm interested in.

But the muse won’t always cooperate and she will never be coerced. Sometimes she’d rather take a nap or see a mid-afternoon movie.

We do not make art. We have unnamable motors and dangerous impulses that occupy our thoughts.

I believe that there's a force of life in the universe, and that when we're writing or making music or painting, we're likely to connect with that flow.

I think I have always had a pretty strong creative impulse. And that has probably saved me from abandoning myself completely.

I can certainly be surprised by turns a story takes, but usually not once I'm actually in the writing/drawing stage. In the plotting stage, anything can happen. That's why I try to finish that part before I start writing. I may be exaggerating here - I'm sure there are times when I think of something part-way through that changes the story, but the ultimate outcome doesn't change. Or not yet. It could always happen.

Everything I do is because of writing. If I go for a walk, it's because I'm thinking of writing. I go look at flowers, I go look at the garden, I go look at a museum, but it's all coming back to writing.

I think everything has its place. So if the ideas or the fluidity isn't coming in writing, maybe it's related to ingestions.

I find that an entertainer is quite content to sit still, and I think an artist always has a little motion, always going somewhere. May not know where it is, but there is some sort of unnamed destination. There is some pulling, some movement. So I just found myself in that category according to my own analysis.

People write because it seems like it'll be an easier job than carpet laying, that they might meet more girls. And they write because the world strikes them as being a marvelous place, and they want to keep bringing that to everybody's attention. You know ~ a scary place, a menacing place, an exciting place because it's scary and menacing. But mainly, kind of glorious.

I think it's especially important for an editor to say what he's enjoying. For a novelist to be told, midstream, what he's doing right can actually influence the unwritten parts of a novel in a positive way - praise helps a writer know what's good about what he's written, what's interesting and exciting, and what to work for in writing the conclusion.

It's rather mystifying when you think about writing songs - where they come from, and how they're born.

If you don't think there is magic in writing, you probably won't write anything magical.

When you sit down and write a song, you kind of have the idea for the song, and you sit there at the piano and you kinda just write it. And then of course later there's some dinking around with it and changing some stuff. But there's this thing that happens when the song first comes out, that sort of magic when it first comes out of the ether, and you can't even really explain where it comes from. That happens so much with music, and people understand that with music. But I really think that a lot of movie and TV should be the same way.

I think that-that anyone, the painter, the musician, the writer works in a-a kind of an-an insane fury. He's demon-driven. He can get up feeling rotten, with a hangover, or with-with actual pain, and-and if he gets to work, the first thing he knows, he don't remember that pain, that hangover-he's too busy.

When I journal, I write about images that I've seen that I think might make good stories. I write about things that I hear that I think I can turn into a story. I write about the story that I'm working on and where I think it might go.

If I come across an issue, or something I feel strongly about, and I happen to think of a song that would go in that direction, then I do it. But that's not what I start out, necessarily, to do. Sometimes I may have an idea for a song - "Well, I'm going to write about a thing.

Don't forget that Mozart worked on commission. He almost always would write something if he knew exactly who was paying for it and where it would be performed. So you can't really separate the creation of genius from the appreciation of it.

I think every writer's had the experience of having a really good idea, waiting to write it, and then once you write it, you're like, "Oh I kind of got past the sell by date on this." I'm not connected to the initial spark that was the idea. A lot of that's about staying open.

Sometimes when I am writing, I am aware of a rhythm, a dance, a fury, which is as yet empty of words.