Inspirational quotes with critics.
Whatever you do, you need courage. Whatever course you decide upon, there is always someone to tell you that you are wrong. There are always difficulties arising that tempt you to believe your critics are right. To map out a course of action and follow it to an end requires some of the same courage that a soldier needs. Peace has its victories, but it takes brave men and women to win them.
You may silence the critics, but you don't silence the pain.
The truth is, everyone likes to look down on someone. If your favorites are all avant-garde writers who throw in Sanskrit and German, you can look down on everyone. If your favorites are all Oprah Book Club books, you can at least look down on mystery readers. Mystery readers have sci-fi readers. Sci-fi can look down on fantasy. And yes, fantasy readers have their own snobbishness. I’ll bet this, though: in a hundred years, people will be writing a lot more dissertations on Harry Potter than on John Updike. Look, Charles Dickens wrote popular fiction. Shakespeare wrote popular fiction—until he wrote his sonnets, desperate to show the literati of his day that he was real artist. Edgar Allan Poe tied himself in knots because no one realized he was a genius. The core of the problem is how we want to define “literature”. The Latin root simply means “letters”. Those letters are either delivered—they connect with an audience—or they don’t. For some, that audience is a few thousand college professors and some critics. For others, its twenty million women desperate for romance in their lives. Those connections happen because the books successfully communicate something real about the human experience. Sure, there are trashy books that do really well, but that’s because there are trashy facets of humanity. What people value in their books—and thus what they count as literature—really tells you more about them than it does about the book.
High above the noise and fear mongering of critics and cynics softly speaks your true self.
True confidence is not about what you take from someone to restore yourself, but what you give back to your critics because they need it more than you do.
One may enter the literary parlor via just about any door, be it the prison door, the madhouse door, or the brothel door. There is but one door one may not enter it through, which is the child room door. The critics will never forgive you such. The great Rudyard Kipling is one of a number of people to have suffered from this. I keep wondering to myself what this peculiar contempt towards anything related to childhood is all about.
The world is already full of critics; to stand out, be an encourager.
The devil's happy when the critics run you off.
I started this dirty quote business when I noticed that I only tend to read authors when their quotes convince me of wit and style. In a world overflowing with bad literature and corrupted product-placement critics the only weapon one has is either word of mouth or quotes, and me I highly prefer the latter. So I have just decided that I will only post to facebook through goodreads quotes. That's policy that makes a lot of sense for a writer.
Cowards say it can't be done, critics say it shouldn't have been done, creator say well done.
Nobody reads poetry, we are told at every inopportune moment. I read poetry. I am somebody. I am the people, too. It can be allowed that an industrious quantity of contemporary American poetry is consciously written for a hermetic constituency; the bulk is written for the bourgeoisie, leaving a lean cut for labor. Only the hermetically aimed has a snowball's chance in hell of reaching its intended ears. One proceeds from this realization. A staggering figure of vibrant, intelligent people can and do live without poetry, especially without the poetry of their time. This figure includes the unemployed, the rank and file, the union brass, banker, scientist, lawyer, doctor, architect, pilot, and priest. It also includes most academics, most of the faculty of the humanities, most allegedly literary editors and most allegedly literary critics. They do so--go forward in their lives, toward their great reward, in an engulfing absence of poetry--without being perceived or perceiving themselves as hobbled or deficient in any significant way. It is nearly true, though I am often reminded of a Transtromer broadside I saw in a crummy office building in San Francisco:We got dressed and showed the houseYou live well the visitor saidThe slum must be inside you.If I wanted to understand a culture, my own for instance, and if I thought such an understanding were the basis for a lifelong inquiry, I would turn to poetry first. For it is my confirmed bias that the poets remain the most 'stunned by existence,' the most determined to redeem the world in words..
In their effort to divorce language and experience, deconstructionist critics remind me of middle-class parents who do not allow their children to play in the street.
Critics write out of intellectual exercise, not poets. Poets write straight from the heart.
I write to find strength.I write to become the person that hides inside me.I write to light the way through the darkness for others.I write to be seen and heard.I write to be near those I love.I write by accident, promptings, purposefully and anywhere there is paper. I write because my heart speaks a different language that someone needs to hear.I write past the embarrassment of exposure.I write because hypocrisy doesn’t need answers, rather it needs questions to heal. I write myself out of nightmares.I write because I am nostalgic, romantic and demand happy endings.I write to remember.I write knowing conversations don’t always take place.I write because speaking can’t be reread.I write to sooth a mind that races.I write because you can play on the page like a child left alone in the sand.I write because my emotions belong to the moon; high tide, low tide.I write knowing I will fall on my words, but no one will say it was for very long.I write because I want to paint the world the way I see love should be.I write to provide a legacy.I write to make sense out of senselessness.I write knowing I will be killed by my own words, stabbed by critics, crucified by both misunderstanding and understanding. I write for the haters, the lovers, the lonely, the brokenhearted and the dreamers.I write because one day someone will tell me that my emotions were not a waste of time. I write because God loves stories.I write because one day I will be gone, but what I believed and felt will live on.
If you are not afraid of the voices inside you, you will not fear the critics outside you.
Asking a working writer what he thinks about critics is like asking a lamp-post what it feels about dogs.", October 31, 1977]
I cringe when critics say I'm a master of the popular novel. What's an unpopular novel?
Critics are to authors what dogs are to lamp-posts.
Inside CriticsThe critical voices in our own heads are far more vicious than what we might hear from the outside. Our "inside critics" have intimate knowledge of us and can zero in on our weakest spots. You might be told by the critics that you're too fat, too old, too young, not intelligent enough, a quitter, not logical, prone to try too many things...It's all balderdash!Some elements of these may be true, and it's completely up to you how they affect you. Inside critics are really just trying to protect you. You can:Learn to dialogue with them.Give them new jobs.Turn them into allies.You can also dismantle/exterminate them.
My whole theory of writing I can sum up in one sentence. An author ought to write for the youth of his own generation, the critics of the next, and the schoolmasters of ever afterward.
Work freely and rollickingly as though you were talking to a friend who loves you. Mentally (at least three or four times a day) thumb your nose at all know-it-alls, jeerers, critics, doubters.
After reading Edgar Allan Poe. Something the critics have not noticed: a new literary world pointing to the literature of the 20th Century. Scientific miracles, fables on the pattern A+ B, a clear-sighted, sickly literature. No more poetry but analytic fantasy. Something monomaniacal. Things playing a more important part than people; love giving away to deductions and other forms of ideas, style, subject and interest. The basis of the novel transferred from the heart to the head, from the passion to the idea, from the drama to the denouement.
A novel takes the courage of a marathon runner, and as long as you have to run, you might as well be a winning marathon runner. Serendipity and blind faith faith in yourself won't hurt a thing. All the bastards in the world will snicker and sneer because they haven't the talent to zip up their flies by themselves. To hell with them, particularly the critics. Stand in there, son, no matter how badly you are battered and hurt.
[A] writer’s most powerful weapon, his true strength, was his intuition, and regardless of whether he had any talent, if the critics combined to discredit an author’s nose for things, he would be reduced to a fearful creature who took a mistakenly guarded, absurdly cautious approach to his work, which would end up stifling his latent genius.
There is no ready vocabulary to describe the ways in which artists become artists, no recognition that artists must learn to be who they are (even as they cannot help being who they are.) We have a language that reflects how we learn to paint, but not how we learn to paint our paintings. How do you describe the [reader to place words here] that changes when craft swells to art?"Artists come together with the clear knowledge that when all is said and done, they will return to their studio and practice art alone. Period. That simple truth may be the deepest bond we share. The message across time from the painted bison and the carved ivory seal speaks not of the differences between the makers of that art and ourselves, but of the similarities. Today these similarities lay hidden beneath urban complexity -- audience, critics, economics, trivia -- in a self-conscious world. Only in those moments when we are truly working on our own work do we recover the fundamental connection we share with all makers of art. The rest may be necessary, but it's not art. Your job is to draw a line from your art to your life that is straight and clear.
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