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When I was writing my first novel, I smoked cigarettes. And when I think about what it was like to smoke, I remember exactly the feeling of sitting in front of my big old computer in that little room where I wrote my first novel.
Dani Shapiro
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Dani Shapiro
Age: 62
Born: 1962
Born: April 10
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New York City
New York
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Smoke
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Devotion, as it relates to the title of my memoir, means fidelity - as in fidelity to a person or a practice. I think it's certainly possible to feel devotion without having faith, at least in the religious sense of the word.
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It is only with distance that we are able to turn our powers of observation on ourselves, thus fashioning stories in which we are characters.
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I did want to feel like life's all of one piece.
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I started realising that the themes running through all of my novels were really haunting and obsessing me about my own life.
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Part of my spiritual work is learning to live with the knowledge that we can't protect our loved ones from pain and heartache.
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If there's anything weirder than an introverted writer going to lots of social functions, it's an introverted writer being converted into an accidental guru.
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Traces that live within us often lead us to our stories
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Maggie Shipstead takes hold of the reader and doesn't let go. Astonish Me is a haunting, powerful novel.
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As a fiction writer, that's been a preoccupation of mine: Can you really just close the door and leave the past back there behind you, or is the door going to blow open at some point?
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What's more important that spiritual life? It seems to me it's the bedrock of everything essential about being human.
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If you write memoir, it can't be about blame or hurt it has to be creative.
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Michael Lowenthal has written a big-hearted and wise book about familial love in all its richness and complexity.
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I was in my early thirties writing about my early twenties, so there was this way of seeing my younger self from enough of a distance to have perspective but also not to feel that I had to protect myself. My dreams for myself then would have undersold myself in a way.
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I remember getting my first cell phone in New York, getting into a taxi and thinking This is the end of solitude in the back of a taxi. What used to happen in the back of a taxi? You looked out the window. My brain has become less able to spend lengths of time without shifting, and I worry about that.
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I’ve discovered that my best work comes from the uncomfortable but fruitful feeling of not having a clue – of being worried, secretly afraid, even convinced that I’m on the wrong track.
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Those memories that are engraved within me become teaching tools, ways of connecting with others, of creating an empathic bridge, of reaching out a hand and saying, I've been there, too.
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If we grew up with nothing, we're complicated with that. That's the thing I keep hearing from people.
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If I dismiss the ordinary—waiting for the special, the extreme, the extraordinary to happen - I may just miss my life.
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When I near the end of a book, it feels as if the entire universe meets me more than halfway and supports me. The whole world seems to shimmer when I find the words. My mind quiets.
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I had spent my childhood and the better part of my early adulthood trying to understand my mother. She had been an extraordinarily difficult person, spiteful and full of rage, with a temper that could flare, seemingly out of nowhere, scorching everything and everyone who got in its way. [pp. 40-41]
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