Quotes of All Topics . Occasions . Authors
My feeling is that poetry is also a healing process, and then when a person tries to write poetry with depth or beauty, he will find himself guided along paths which will heal him, and this is more important, actually, than any of the poetry he writes.
These days, my subjects are murder and mayhem and other terrible things that happen to people - things that are even worse than cutting yourself shaving. And these are not the sorts of things you feel the need to experience before you write about them.
It should be noted that no ethically-trained software engineer would ever consent to write a DestroyBaghdad procedure. Basic professional ethics would instead require him to write a DestroyCity procedure, to which Baghdad could be given as a parameter.
When I started writing, I used the singing side of the production as a vehicle for melody and lyrical ideas. Eventually, that process of using my voice to bring ideas across became more complicated, and I felt I could use it more as an expressive tool.
The story is everything, so it always begins with a story.And research is a kind of scaffolding built underneath the story as I go along. My enjoyment level varies, but in general, I'm writing about topics I find interesting, so I can't gripe too much.
"Ageism" or whatever you want to call it, is a very English phenomenon. You don't get it too much in many other cultures. And no one says it about authors or poets or filmmakers. "Oh, they're too old to make films or write books." You know what I mean?
I don't procrastinate because I love the English language and the process of storytelling, and I'm always curious to see what will come to me next. If you procrastinate a lot, you might be one who loves having written, but doesn't so much like writing.
The strange thing, though, is that most people who write novels these days seem to be aware of only a fraction of its possibilities. Kundera goes on and on about this, and I never tire of reading him on the subject, because I agree very deeply with it.
I like high school and college writing textbooks and find them very helpful. Whenever I'm stuck and seem to have no ideas, I open one up and turn to the back. There I'll find questions like, "Have you had any experiences with an alcoholic or a sailor?"
Zachary Jernigan can't write a bad story. He couldn't even if he tried. Each and every time I start one of his inventive, carefully crafted, thoughtful and mind-bending tales I know I’m in for a treat. This collection is sci-fi at its intelligent best.
For me Henry Corbin, the way that he writes about certain esoteric matters, is in a phenomenological way that refuses a New Age lens. But at the same time he's very much responsible for a lot of New Age thought, because he was a very syncretic thinker.
I write easily, let's put it that way. And in a novel particularly, the characters take over. And they tell me what to say and they tell me what they're doing. And I'm a third of the way into a novel and then I just let the characters finish it for me.
I found myself in network always trying to play catch up because once things get going there's no time to fix this and that. And also the writing, it was more inclined to be by committee in network which drowns out the purity and the voice of the show.
I'm not a standup. I didn't start off as a writer, I learned to write through improvisation, and so that's the part of the show that can most surprise me. The written part of the show, I know I can get wrong. You can't really get the interview "wrong."
Words, sentences, ideas, no matter how subtle or ingenious, the maddest flights of poetry, the most profound dreams, the most hallucinating visions, are but crude hieroglyphs chiseled in pain and sorrow to commemorate an event which is untransmissible.
It's like a pulsar inside me. There is this great burst of energy, forcing me to write, and then the star goes quiet for a time, and I think it's gone, but it's gathering energy for another burst. And I seem to be almost unwilling participants in this.
There is a growing literature about the multitude of journalism's problems, but most of it is concerned with the editorial side of the business, possibly because most people competent to write about journalism are not comfortable writing about finance.
I don't know if there is any one secret to successful writing, but one important step is to move beyond imitation and discover what you can write that no one else can - that is, find out who you are and write that in an appropriate narrative and style.
I sometimes try to write something that is actually really simple and I can't do it. So, then, it's not simple anymore. It's really hard and it gets all messed up. I sometimes sit down and try to write a song with just three chords and it doesn't work.
Tone is a very difficult thing. You can't write tone, I don't think. You can try - you certainly try. I write too, so I know I'm trying desperately to communicate to whoever's going to direct my pieces, the way I see the humor. But it's very difficult.
The easiest thing I do is assignment songs. They tell me what they need me to write. I can do that fairly quickly. Writing for an orchestra is difficult. Writing songs [on your own] is most difficult of all. Though [writing for] the orchestra is close.
If we want to make meaning, we need to make art. Cook, write, draw, doodle, paint, scrapbook, take pictures, collage, knit, rebuild an engine, sculpt, dance, decorate, act, sing - it doesn't matter. As long as we're creating, we're cultivating meaning.
From the beginning [of the Lincoln in the Bardo], I actually had it in mind not to write a novel. I'd kind of gotten past that point where I felt bad for never having written a novel, even to where I felt really good about it, like I was a real purist.
I'm close to my audience. I think I have more tools in my box than other guys who might try it. Also, I know how to do this stuff. I know how to write and shoot and edit. I'm technically adept and that helped with the website. You need a big skill set.
It's difficult to sit down and write a letter back saying, "you know what, even if we remove the word from the dictionary, people will still continue to use it." That's the tightrope that we walk - "gay marriage" is another example, or the word "nude."
Any time you write history, you insert your opinion. You pick and choose what you are going to write about. I feel really happy not inserting myself. I spend too much of my life inserting myself. It's just great to let other people carry the narrative.
Since I didn't spend a great amount of time on writing the lyrics, some people would argue that they're too vague or simplistic, but I think it's kind of good. I wouldn't say they're all stream of consciousness, but they're not necessarily overwrought.
And truly, when you look at the Constitution and our founding fathers and their writings, the things that made this country great, you might draw those conclusions: That they were conservative. They were fiscally conservative and socially conservative.
I always hesitate when people call me a musician.I have had no musical training. I can't play anything. I really think of myself as a performer. It's always been writing for me. I evolved with my band in rock 'n' roll through poetry, not through music.
There are nineteen words in Yiddish that convey gradations of disparagement, from a mild, fluttery helplessness to a state of downright, irreconcilable brutishness. All of them can be usefully employed to pinpoint the kind of individuals I write about.
I have a lot of good role models in my family for things off the court - like my older sister, who's a lawyer. I don't like writing papers, but she's helped me a lot. It's nice to have an art and business background because they tie together perfectly.
A poet once said, "The whole universe is in a glass of wine." We will probably never know in what sense he meant that, for poets do not write to be understood. But it is true that if we look at a glass of wine closely enough we see the entire universe.
I'm a writer. The more I act, the more resistance I have to it. If you accept work in a movie, you accept to be entrapped for a certain part of time, but you know you're getting out. I'm also earning enough to keep my horses, buying some time to write.
I tend to basically exaggerate in life, and in writing, it's fine to exaggerate. I really enjoy overstating for the purpose of getting a laugh. For another thing, writing is easier than digging ditches. Well, actually, that's an exaggeration. It isn't.
If you have a structure beforehand, you're sort of stuffing your story into a pre-assembled box. You don't want that to happen. What you want in your writing is to have a sort of wildness that occurs. And then, out of the wildness, a structure emerges.
If you just go get one of these little fine arts degrees or writing program degrees, it never forces you to confront your responsibility as narrator, whereas any of the social sciences make you at look the interaction between the storyteller and story.
Making really great music, making really great films, writing great books is an antidote to all of that. And, as people, as artists, some of the massive disruption that technology is causing is so exciting, the way that people can share creativity now.
And with a practice of writing comes a certain important integrity. A culture filled with bloggers thinks differently about politics or public affairs, if only because more have been forced through the discipline of showing in writing why A leads to B.
My husband is a director, and I understand what it takes to direct. It's a skill set where you have to be able to talk to actors and understand them, and I don't. It's a very different way of being in the world, and I much prefer writing and producing.
I haven't written a word of fiction since 2009. I have no desire to write fiction. I did what I did and it's done. There's more to life than writing and publishing fiction. There is another way entirely, amazed as I am to discover it at this late date.
An artist's sensitivity to criticism is, at least in part, an effort to keep unimpaired the zest, or confidence, or arrogance, which he needs to make creation possible; or an instinct to climb through his problems in his own way as he should, and must.
Memoirs have at their heart a content that "happened" to someone in real life. Is that what you are itching at in your question, so that if you are a reviewer or you are writing a critique you might feel as if you are stepping on someone's actual face?
When you're teaching creative nonfiction, it helps to have written about your life in a very open way, because you can say, 'Look, how much are you willing to risk emotionally to write? How careful can you be with the other people you're writing about?
As Faulkner says, all of us have the capacity in us for great good and for great evil, for love but also for hate. I wanted to write those kinds of complex character in a fantasy, and not just have all the good people get together to fight the bad guy.
A mission statement is not something you write overnight... But fundamentally, your mission statement becomes your constitution, the solid expression of your vision and values. It becomes the criterion by which you measure everything else in your life.
When I need to take a side, I write a newspaper article and I tell my government, "You should not do that, you should do this." They don't listen to me, but I've been doing this for sixty years now. But, when I write a novel, I am not in that business.
I think good creative writing opens up space for people to come into. Let God reach out and touch the human soul. That's not my job. I get to be present and create as much space as I can ... That frees me up just to be creative in the way I want to be.
I have so much joy in my life. I love my husband and kids so much. So much love. I'm also more focused now on spending more time at home and in town instead of going on tour. Because of that nesting, I find that I'm even more into writing and creating.
I would be researching seventeenth-century garden design or I would be doing something with Pepys, but I just kept using all of it to write about Margaret Cavendish. It took me a long time to realize that I just wanted to write a book about her. Years.
Not to write, for many of us, is to die. We must take ares each and every day, perhaps knowing that the battle cannot be entirely won, but fight we must, if only a gentle bout. The smallest effort to win means, at the end of each day, a sort of victory.