A short story is the ultimate close-up magic trick -- a couple of thousand words to take you around the universe or break your heart.
Neil GaimanRead
As far as I'm concerned, the entire reason for becoming a writer is not having to get up in the morning.
Interpretation
The quote expresses the desire for the freedom that comes with being a writer, avoiding the traditional constraints of a daily job.
Neil Gaiman emphasizes the allure of a writer's lifestyle, particularly the flexibility it offers compared to conventional employment. The statement reflects a longing for autonomy and creativity, suggesting that writing allows for a more liberated existence, where one can escape the typical morning grind that many people face.
In practice
In a motivational workshop about pursuing one’s passion, this quote can illustrate the liberating power of creativity.
A short story is the ultimate close-up magic trick -- a couple of thousand words to take you around the universe or break your heart.
Jesus. Low-Key Lyesmith," said Shadow. and then he heard what he was saying and he understood. "Loki," he said. "Loki Lie-smith." "You're slow," said Loki, "but you get there in the end." And his lips twisted into a scarred smile and the embers danced in the shadows of his eyes.
As a teenager I wrote to R.A. Lafferty. And he responded, too, with letters that were like R.A. Lafferty short stories, filled with elliptical answers to straight questions and simple answers to complicated ones.
The important thing to understand about American history, wrote Mr. Ibis, in his leather-bound journal, is that it is fictional, a charcoal-sketched simplicity for the children, or the easily bored.
Nothing’s changed. You’ll go home. You’ll be bored. You’ll be ignored. No one will listen to you, really listen to you. You’re too clever and too quiet for them to understand. They don’t even get your name right.
I like the stars. It's the illusion of permanence, I think. I mean, they're always flaring up and caving in and going out. But from here, I can pretend...I can pretend that things last. I can pretend that lives last longer than moments. Gods come, and gods go. Mortals flicker and flash and fade. Worlds don't last; and stars and galaxies are transient, fleeting things that twinkle like fireflies and vanish into cold and dust. But I can pretend.
I needed my life as a springboard for my fiction. I have to have something solid under my feet when I write. I'm not a fantasist. I bounce up and down on the diving board, and I go into the water of fiction. But I've got to begin in life so I can pump life into it throughout.
Those who create are rare; those who cannot are numerous. Therefore, the latter are stronger.
And the wild things roared their terrible roars and gnashed their terrible teeth and rolled their terrible eyes and showed their terrible claws.
Indie world won't have me, and mainstream world treats me like an alien, but here I am still floating between these two worlds.
I am increasingly attracted to restricting possibility in the poem by inflicting a form upon yourself. Once you impose some formal pattern on yourself, then the poem is pushing back. I think good poems are often the result of that kind of wrestling with the form.
Everything was a song. Every conversation, every personal hurt, every observance of people in stress, happiness and love... if you could feel it, I could feel it. And I could write a song about it.
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