Every writing teacher I ever had except for one told me I was an awful writer, had no idea what I was doing, and should stop immediately. It only took the one to tell me something different to light a fire under me.
Catherynne M. ValenteRead
All stories must end so, with the next tale winking out of the corners of the last pages, promising more, promising moonlight and dancing and revels, if only you will come back when spring comes again.
Interpretation
This quote suggests that every story has an ending that also hints at new beginnings and the promise of future joy.
In this quote, Catherynne M. Valente highlights the cyclical nature of storytelling, where each narrative conclusion opens the door to new adventures and experiences. The imagery of 'moonlight and dancing' evokes a sense of hope and wonder, encouraging the reader to return for more when the time is right, emphasizing the beauty of both endings and new beginnings in life.
In practice
This quote can be used in a speech about the importance of storytelling in culture.
Every writing teacher I ever had except for one told me I was an awful writer, had no idea what I was doing, and should stop immediately. It only took the one to tell me something different to light a fire under me.
One of the many quotes on love..."Love can come only with time and sentience. We learn it as we learn language--and some never learn it well. Love is like a tool, though it is not a tool; something strange and wonderful to use, difficult to master, and mysterious in its provenance.
I do not tolerate a world emptied of you. I have tried. For a year I have called every black tree Marya Morevna; I have looked for your face in the patterns of the ice. In the dark, I have pored over the loss of you like pale gold.
Stories,' the green-eyed Sigrid said, unperturbed, 'are like prayers. It does not matter when you begin, or when you end, only that you bend a knee and say the words.
Do you suppose you will look the same when you are an old woman as you do now? Most folk have three faces—the face they get when they’re children, the face they own when they’re grown, and the face they’ve earned when they’re old. But when you live as long as I have, you get many more. I look nothing like I did when I was a wee thing of thirteen. You get the face you build your whole life, with work and loving and grieving and laughing and frowning.
A marriage is a private thing. It has its own wild laws, and secret histories, and savage acts, and what passes between married people is incomprehensible to outsiders. We look terrible to you, and severe, and you see our blood flying, but what we carry between us is hard-won, and we made it just as we wished it to be, just the color, just the shape.
Little by little, I've reached the stage of using only a small number of forms and colors. It's not the first time that painting has been done with a very narrow range of colors. The frescoes of the tenth century are painted like this. For me, they are magnificent things.
A writer's heart, a poet's heart, an artist's heart, a musician's heart is always breaking. It is through that broken window that we see the world.
Color is vibration like music; everything is vibration.
I don't like to read contemporary fiction while writing - I need a sense of isolation, a kind of silence, and I don't want a jumble of other people's voices or visions getting in my way. Nineteenth-century voices don't create static in that silence.
With cold eyes and indifferent mind the spectators regard the work. Connoissers admire the "skill" (as one admires a tightrope walker), enjoy the "quality of painting" (as one enjoys a pasty). But hungry souls go hungry away. The vulgar herd stroll through the rooms and pronounce the pictures "nice" or "splendid." Those who could speak have said nothing, those who could hear have heard nothing.
There are days when I think the National Endowment for the Arts should issue a quota system for the production of plays by women - especially when you realize women buy 70 percent of all theater tickets.
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