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" "It was dry and cold, not bitter, but with the kind of steady chill that makes it hard to remember being any other way. I tried to imagine people living out here once, and couldn't. It must have been long ago. The land felt like it didn't want anyone bothering it anymore.
Michael Marshall Smith (born May 3, 1965) is a British novelist, screenwriter and short story writer. When writing thrillers, he writes under the name Michael Marshall.
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I'm not a great believer in writing courses, though it must be said I've never been in one. It probably depends on what kind of writer you are. I'm very un-analytical about what I do. I don't plan much for the first draft. I try to let characters come out by themselves, rather than designing them. But other writers work differently, and for them the teaching process - which at least forces you to consider what you're doing, and why - may be very helpful. At the very least a creative writing course mandates someone to spend a period of their life just writing, which can be hard to do otherwise. But beware of thinking too much about what you do.
I realized then why we respond to the sound of the waves, and the falling of rain, and wind in the trees. Because they are meaningless. They are nothing to do with us. They are outside our control. They remind us of a time, very early in our lives, when we did not understand the noises around us but simply accepted them in our ears; and so they provide blessed relief from our continual needy attempts to change our world in magic deed or endless thought. Meaningless sound, which welove against the anxiety of action, of pattern-making, of seeking to comprehend and change. As soon as we picked up someting and used it for a purpose, we were both made and damned. Tool-making gave us the world, and we lost our minds.