Sadness is more or less like a head cold - with patience, it passes. Depression is like cancer.
Barbara KingsolverRead
Close the door. Write with no one looking over your shoulder. Don't try to figure out what other people want to hear from you; figure out what you have to say. It's the one and only thing you have to offer.
Interpretation
The quote emphasizes the importance of authenticity in creative expression.
Barbara Kingsolver's quote urges individuals to focus on their own voice and thoughts instead of conforming to external expectations. It highlights the significance of introspection and personal truth in the creative process, asserting that true artistry comes from within rather than from the desire to please others.
In practice
This quote can be shared during a creative writing workshop to encourage participants to trust their unique voices.
Sadness is more or less like a head cold - with patience, it passes. Depression is like cancer.
Children can be your heartache. But that doesn't matter, you have to go on and have them . . . it works out.
I'm of a fearsome mind to throw my arms around every living librarian who crosses my path, on behalf of the souls they never knew they saved.
I did it to win love, and to prove myself capable. Not to move mountains. In my opinions, mountains don't move. They only look changed when you look down on them from great height.
Memory is a complicated thing, a relative to truth, but not its twin.
Empathy is really the opposite of spiritual meanness. It's the capacity to understand that every war is both won and lost. And that someone else's pain is as meaningful as your own.
The slightest thing can ruin a scene, but you must be willing to take chances.
My greatest fear is feeling like a professional novelist. Somebody who creates characters, who sits down and has pieces of paper taped to the wall - what's going to happen in this scene, or this act. What I like is for it to be a much more scary, sloppy reflection of who I am.
All art really does is keep you focused on questions of humanity, and it really is about how do we get on with our maker.
I am on the hunt for constructions. I come into a room and find them whitely merging in a corner.
When I worked on a magazine, I learned that there are many, many writers writing that can't write at all; and they keep on writing all the cliches and bromides and 1890 plots, and poems about Spring and poems about Love, and poems they think are modern because they are done in slang or staccato style, or written with all the 'i's' small.
If you let the plot be determined by what you feel is in the character's mind at that point, it may not turn out to be a very good play, but at least it will be a play where people are behaving in a kind of truthful way.
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