Prose Quotes

Lincoln, steeped in the Bible and Shakespeare, set an impossibly high bar for presidential prose.

Prose is in fact the museum where the dead images of verse are preserved. In 'Notes', prose is 'a museum where all the old weapons of poetry kept.

Updike was the first to take the penile sensorium under the wing of elaborate metaphorical prose.

Metaphors are an interesting example of creating magic in prose.

Certainly for me prose has a dilatory capacity, insofar as I don't trust my abilities in prose. I imagine I could have done the same thing in poetry, but sometimes I feel more fluent in poetry than in prose, and as a consequence perhaps I might pass too quickly by a thing that I might, in prose, have struggled merely to articulate. That struggle creates space, and it seems to me a particular kind of space into which memory flows easily. I suspect I think better in poetry, however.

No subject is terrible if the story is true, if the prose is clean and honest, and if it affirms courage and grace under pressure.

The gap between verse and poetry is enormous. Between good poetry and good prose the gap is much narrower

George Moore unexpectedly pinched my behind. I felt rather honored that my behind should have drawn the attention of the great master of English prose.

The definition of good prose is proper words in their proper places; of good verse, the most proper words in their proper places.The propriety is in either case relative. The words in prose ought to express the intended meaning, and no more; if they attract attention to themselves, it is, in general, a fault.

Poetry is fascinating. As soon as it begins the poetry has changed the thing into something extra, and somehow prose can go over into poetry.

For me, poetry is an evasion of the real job of writing prose.

For me, writing essays, prose and fiction is a great way to be self-indulgent.

A lot of shows are more script-driven, like a prose script. As an actor, you never see a storyboard.

I'm a games and theory kind of guy. I love puzzles, so it was fun dissecting Shakespeare's prose.

Cartooning is completely different from other media: it is closely related to film and prose, other narrative forms, but the skills needed to realize a story are very different, and include not only drawing and writing dialogue and narration, but graphic design and the ability to depict time passing visually. It's a whole suite of skills that has to go into making a comics page, skills that are quite distinct from those that go into writing a page of prose, or making a film.

A short story is "a short prose narrative, requiring from a half hour, to one or two hours in its perusal...having conceived, with deliberate care, a certain unique or single effect to be wrought out.

Traditionally poetry is written in lines. But the prose poem is the kind of poem that isn't written in lines. It is lyrical prose that uses the tricks of poetry, such as dense imagery. This is a big topic of debate in poetry land. There's no perfect definition.

I want the concentration and the romance, and the worlds all glued together, fused, glowing: have no time to waste any more on prose.

Because, if one is writing novels today, concentrating on the beauty of the prose is right up there with concentrating on your semi-colons, for wasted effort.

Juliet!' I whip around but not quickly enough. She's swallowed by the crowd, the gap that allowed her to break for the door closing just as quickly as it opened, a shifting Tetris pattern of bodies.

The strange, wonderful stories of Doctor Olaf van Schuler's Brain introduce us to the tremendously gifted Kirsten Menger-Anderson, a writer whose subject is nothing less than the diagnosis and cure of the human malady. We follow twelve generations of New York City's Steenwycks family through their forays into phrenology, mesmerism, radium therapy and similar misadventures, a historically rich narrative that Menger-Anderson delivers in striking, elegant prose and with a sure eye for detail. This is a remarkable debut by a writer to watch.

Pace is crucial. Fine writing isn't enough. Writing students can be great at producing a single page of well-crafted prose; what they sometimes lack is the ability to take the reader on a journey, with all the changes of terrain, speed and mood that a long journey involves. Again, I find that looking at films can help. Most novels will want to move close, linger, move back, move on, in pretty cinematic ways.

Of course, there are hundreds of novels and authors that have influenced me. But to choose three, they are: Stephen King/The Stand (and really most of his books); Anne Rice/The Witching Hour; and Pat Conroy/The Prince of Tides. These authors write my favorite kind of book - epic feel, gorgeous prose, unique characters, and a pace that keeps you turning the pages. From them, I learned a lot about characterization, pacing, prose, voice, and originality.

The 250-page outline for American Tabloid. The books are so dense. They're so complex, you cannot write like I write off the top of your head. It's the combination of that meticulousness and the power of the prose and, I think, the depth of the characterizations and the risks that I've taken with language that give the books their clout. And that's where I get pissed off at a lot of my younger readers.

Sometimes one has the feeling of an almost supernatural character to the shifts and changes in our national mood. They appear beyond the prose of cause and effect.

Prose books are the show dogs I breed and sell to support my cat.

There is such a thing as literary fashion, and prose and verse have been regulated by the same caprice that cuts our coats and cocks our hats.

Anyone who doubts that caffeine is a drug should read some of the prose composed under its influence.

All great questions must be raised by great voices, and the greatest voice is the voice of the people - speaking out - in prose, or painting or poetry or music; speaking out - in homes and halls, streets and farms, courts and cafes - let that voice speak and the stillness you hear will be the gratitude of mankind.

There's something paralyzing about being a writer that you have to escape. I don't want to think of myself as a guy who's written a bunch of books. The 26 letters distance us from our own hesitations and they make us sound as if we know what we're doing. We know grammar, we know prose, but actually we're all just struggling in the dark, really.

I think my prose reads as if English were my second language. By the time I get to the end of a paragraph, I'm dodging bullets and gasping for breath.

A lot of artists use memories. A lot of prose writers, a lot of poets, a lot of songwriters, refer back to something. Generally it's all you've got, unless you're brilliant and can write totally in the now.

Give your main clause a little space. Prose is not like boxing; the skilled writer deliberately telegraphs his punch, knowing that the reader wants to take the message directly on the chin.

The question now becomes about defining your terms. What is literature? Unless we allow it to encompass the oral tradition from which it grew, which means taking it back to Homer and beyond, it demands the written word - poetry and prose. [Bob] Dylan is no slouch at the written word, both in its own right, and transcribed from his lyrics, which have often been acclaimed as poetry and may well stand up as such. But that is not his métier.

James Baldwin had an unrivaled understanding of politics and history and, above all, the human condition. His prose is laser sharp. His onslaught is massive and leaves no room for response. Every sentence is an immediate cocked grenade. You pick it up, then realize that it is too late. It just blows up in your face. And yet he still managed to stay human, tender, accessible.

Words are freeborn, and not the vassals of the gruff tyrants of prose to do their bidding only. They have the same right to dance and sing as the dewdrops have to sparkle and the stars to shine.

Writing isn't generally a lucrative source of income; only a few, exceptional writers reach the income levels associated with the best-sellers. Rather, most of us write because we can make a modest living, or even supplement our day jobs, doing something about which we feel passionately. Even at the worst of times, when nothing goes right, when the prose is clumsy and the ideas feel stale, at least we're doing something that we genuinely love. There's no other reason to work this hard, except that love.

I think it's hard to really write a song that will educate someone because songs are meant to be ... you don't want to be too didactic in a song because it doesn't make for good music. And I think the role of songs can be to inspire people but there needs to education and prose to back that up.

He who writes prose builds his temple to Fame in rubble; he who writes verses builds it in granite. - Edward George Earle Lytton Bulwer-Lytton, first Baron Lytton

He who writes prose builds his temple to Fame in rubble; he who writes verses builds it in granite.

Unlike prose writing, the strange process of writing with pictures encourages associations and recollections to accumulate literally in front of your eyes; people, places, and events appear out of nowhere. Doors open into rooms remembered from childhood, faces form into dead relatives, and distant loves appear, almost magically, on the page- all deceptively manageable, visceral, the combinations sometimes even revelatory.

From the moment that photography appeared, the descriptive genre began to invade Letters... In verse as in prose the décor and exterior aspects of life took an almost excessive place.

Most of my writing consists of an attempt to translate aphorisms into continuous prose.

When I feel something very intensely or deeply or personally, I can go to extremes of self-expression or self-analysis by writing a poem - more than I can just talking to somebody or writing prose.

I think I was also afraid of the novel. I write line by line, proceeding at snail's pace, rewriting as I go and paring the excess away. This is against all the best advice for writing long form prose, and I have tried over the years to break myself of the habit, but I can't bear to leave anything ungainly on the page and half the fun for me is that tinkering. So the length of a novel was a daunting prospect.

Take care of the sense and the sounds will take care of themselves.

Of little use, the man you may suppose, Who says in verse what others say in prose; Yet let me show a poet's of some weight, And (though no soldier) useful to the state, What will a child learn sooner than a song? What better teach a foreigner the tongue? What's long or short, each accent where to place And speak in public with some sort of grace?

When I was in law school I was taught that the great writers were people like [Oliver Wendell] Holmes Jr. and [Benjamin N.] Cardozo. But you go back and read their prose and it's sort of perfumed and very ornate and show-offy. And they're constantly striving for these abstractions that seem archaic nowadays.

Most clear writing is a sign that there is no exploration going on. Clear prose indicates the absence of thought.

Disgrace is a subtle, multi-layered story, as much concerned with politics as it is with the itch of male flesh. Coetzee's prose is chaste and lyrical without being self- conscious: it is a relief to encounter writing as quietly stylish as this. I was not totally convinced by Lurie's musical abilities, with regard to his proposed opera, but that is my sole complaint.