One of the best known, and one of the least intelligible, facts of literary history is the lateness, in Western European Literature at any rate, of prose fiction, and the comparative absence, in the two great classical languages, of what we call by that name.
Ah! What avails the classic bent And what the cultured word, Against the undoctored incident That actually occurred? And what is Art whereto we press Through paint and prose and rhyme- When Nature in her nakedness Defeats us every time?
My sole inspiration is a telephone call from a director. ... (when asked who wrote 'Some Enchanted Evening') Rodgers and Hammerstein, if you can imagine it taking two men to write one song. ... Good authors, too, who once knew better words now use only four-letter words writing prose. ... Brush up your Shakespeare and they'll all kowtow.
Eva Stachniak has given readers a thrilling glimpse into the scandals and secrets at the heart of the Russian Imperial court. With deft prose and exquisite detail, Stachniak has resurrected one of the most compelling ages in history. Turn off the phones and lock the doors—you will not put it down.
I started out as a writer. Poetry and prose and also kind of satirical David Sedaris-esque stuff.
There is nothing quite like the controlled burn of Eugene Marten’s prose. Waste is an exhilarating and unnerving piece of fiction.
Alethea Black can drop you into a dream with a single sentence, then convince you it's real. Her characters' best hopes and worst fears usually come to pass, often in fabulous ways, but their adventures feel inevitable and true-not only because Ms. Black richly imagines her people, but because she loves them. I Knew You'd Be Lovely is a lovely debut, with masterful prose and inspired invention on every page.
Herein find fiction full of whimsy, wit, hurt, and terror. Wicked, as in wickedly funny, is in the mix, too, along with a prose style both seductive and sly. Any one of Doug Watson's first collection of stories, The Era of Not Quite, can mend a broken world.
The Hours is in fact a lovely triumph. Cunningham honors both Mrs. Dalloway and its creator with unerring sensitivity, thanks to his modesty of intention and his sovereignly affecting prose.... With his elliptical evocation of Mrs. Dalloway, he has managed to pay great but quiet tribute -- reminding us of the gorgeous, ferocious beauty of what endures.
Even in a crowded field, it is a rare pleasure to come across a prose stylist like Kellie Wells, whose intellect and language bid one another beautifully to a dance. She dares to be at play in the most unsettling questions of her day. Surely when the present generation of writers shakes down to its unique and irreplaceable voices, Kellie Wells will be one of them.
I see manuscripts and books that are spoiled for the literary reader because they are one long stream of top-of-the-head writing, a writer telling a story without concern for precision or freshness in the use of language. Some of this storytelling reads as if it were spoken rather than written, stuffed with tired images that pop into the writer's head because they are so familiar. The top of the head is fit for growing hair, but not for generating fine prose.
Keep your exclamation points under control. You are allowed no more than two or three per 100,000 words of prose.
Writing is revision. All prose responds to work.
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.
I can manage a prose format as long as I keep closer to Laurence Sterne than to Henry James.
Poets seem to write more easily about love than prose writers. For a start, they own that flexible ‘I’…. Then again, poets seem able to turn bad love – selfish, shitty love – into good love poetry. Prose writers lack this power of admirable, dishonest transformation. We can only turn bad love into prose about bad love. So we are envious (and slightly distrustful) when poets talk to us of love.
My medium is prose, not the novel.
In Madame Bovary Flaubert never allows anything to go on too long; he can suggest years of boredom in a paragraph, capture the essence of a character in a single conversational exchange, or show us the gulf between his soulful heroine and her dull-witted husband in a sentence (and one that, moreover, presages all Emma's later experience of men). (...) This is one of the summits of prose art, and not to know such a masterpiece is to live a diminished life.
I am not a great prose stylist. I'm a storyteller. There are thousands of people who don't like what I do. Fortunately, there are millions who do.
What I do say is that I can write verse, and that the writing of verse in strict form is the best possible training for writing good prose
The process of composition, messing around with paragraphs and trying to make really good prose, is hardwired into my personality.
I have to say from the outset that not all prose can be transferred to the screen.
Agitation is all about poetry, governance is all about prose.
The only imaginative prose writer of the slightest value who has appeared among the English-speaking races for some years past.
Thomas Ligotti is an absolute master of supernatural horror and weird fiction, and a true original. He pursues his unique vision with admirable honesty and rigorousness and conveys it in prose as powerfully evocative as any writer in the field. I'd say he might just be a genius.
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