The one ironclad rule is that I have to try. I have to walk into my writing room and pick up my pen every weekday morning
Anne TylerRead
I just want to be told a story, and I want to believe I'm living that story, and I don't give a thought to influences or method or any other writerly concerns
Interpretation
The speaker expresses a desire for storytelling and immersion in narrative without concern for the technical aspects of writing.
This quote emphasizes the importance of narrative and the power of storytelling in our lives. The speaker wishes to experience a story fully and authentically, highlighting a universal longing to connect with tales that resonate personally, beyond the complexities and craft of writing.
In practice
In a reading club, when discussing favorite books, this quote can illustrate the joy of storytelling.
The one ironclad rule is that I have to try. I have to walk into my writing room and pick up my pen every weekday morning
I don't know what takes more courage: surviving a lifelong endurance test because you once made a promise or breaking free, disrupting all your world.
I do write long, long character notes - family background, history, details of appearance - much more than will ever appear in the novel. I think this is what lifts a book from that early calculated, artificial stage.
It seems to me that since I've had children, I've grown richer and deeper. They may have slowed down my writing for a while, but when I did write, I had more of a self to speak from.
And she thought what a clean, simple life she would have led if it weren't for love.
There is no true life. Your true life is the one you end up with, whatever it may be. You just do the best you can with what you've got.
That sculpture is more admirable than painting for the reason that it contains relief and painting does not is completely false. ... Rather, how much more admirable the painting must be considered, if having no relief at all, it appears to have as much as sculpture!
I like light, color, luminosity. I like things full of color and vibrant.
I think cooks that are just interested in molecular gastronomy are cooks that will never be chefs.
When the color achieves richness, the form attains its fullness also.
When you do one more 'Cinderella' or whatever, what is there to learn? Every part in the repertoire has a good side and a bad side, and the more often you do the same ballet, the more often the bad side comes out. If you want to give dance life, you must give it fresh food, not keep going back to the garbage to look for old scraps.
I'm trying to figure out if I love art enough to be poor.
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