Sandra Brown Quotes

Writing doesn't mean necessarily putting words on a sheet of paper. You can write a chapter while walking or eating.

I love writing in longhand. Writing in longhand, I think, is a marvelous thing to do for a writer these days. If you have a notebook and a nice pen you can go off somewhere, you can write that's solar powered. You can drop it or get it wet and pretty much all of your work will continue to be there. If you suddenly decide to look up a word or check a reference you will not look up four hours later, blinking, finding yourself somehow in the middle of an Ebay auction you never had any plans to be part of.

Writing is the litmus paper of thoughtthe very center of schooling.

A writer should not so much write as embroider on paper; the work should be painstaking, laborious.

When I write, I use an Underwood #5 made in 1920. Someone gave me an electric typewriter, but there's no use pretending you can use machinery that thinks faster than you do. An electric typewriter is ready to go before I have anything to say.

I still write with pen and paper and have someone type it on a computer. But rewriting I do by hand.

I write every paragraph four times - once to get my meaning down, once to put in anything I have left out, once to take out anything that seems unnecessary, and once to make the whole thing sound as if I had only just thought of it.

I work with pen and paper. That's my favorite way to write. I love the way the ink sinks into the wood, soaks into the wood pulp. There's something about that process that's so organic.

The first sentence cant be written until the final sentence is written.

I learned to just show up at the page and write down what I heard. Writing became more like eavesdropping and less like inventing a nuclear bomb.

Writing books isn't a drastic departure from writing for the stage.

To be a writer you should read, write and talk to people, hear their knowledge, hear their problems. Be a good listener. The rest will come.

If you want anybody to have a different voice, you really have to visualize and hear the voices of all these people. Sometimes when I write with specific actors in mind, it helps.

I start my process hand written, and then I dump it in. It's like you're getting a second draft 'cause when I put it in the computer, I fix it and change stuff. That's my process. I picked that up from speaking to Neil Gaiman and Joe Hill. I was messing around with the idea of starting to write more, writing a book and doing things like this, and I reached out for advice. They were like, "Oh, we hand write, and then we dump it all in." I was like, "Great! There's no more blank pages."

I put things down on sheets of paper and stuff them in my pockets. When I have enough, I have a book.

I don't think that I would ever, while writing, think to myself, "I need a little more psychological realism."

Paper has more patience than people.

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.

You write that first draft really to see how it's going to come out.

What I try to do in writing any character is to put myself in his position.

Just start the sentence...and see what happens. This is how we write.

I have also led you astray by talking of technique as if it were something that could be separated from the rest of the story. Technique can't operate at all, of course, except on believable material.

I talk out the lines as I write them.

Sometimes I'll have a scene that strikes me, I just feel like writing a scene, a mini-story that seems like it might lead somewhere. But that is such a tentative, fishing-hook way to go about it that these days I've found it's easier to kind of at least have your concept and start attaching things to a skeleton. So I try to find the armature, the kind of backbone of it first that you can start to hang those scenes on.

If writing is thinking and discovery and selection and order and meaning, it is also awe and reverence and mystery and magic....Authors arrive at text and subtext in thousands of ways, learning each time they begin anew how to recognize a valuable idea and how to reader the texture that accompanies, reveals or displays it to its best advantage.