Quotes of All Topics . Occasions . Authors
I was feeling like I'd been born in the wrong place at the wrong time with the wrong people. I don't believe that anymore, not coincidentally two years after writing Eileen. I think that was the driving curiosity for me, thinking about real and fictional characters who could respond to that problem.
In writing the book I wanted to make it very clear that I feel prostitution should be decriminalized. But some people might have breezed by those aspects that others took the time to notice. In All I Could Bare, I hope I relate in a conversational way how stripping is a lot like other types of work.
My films are misinterpreted all the time. I don't mind that. Everybody's films are misinterpreted. But there's no malice or stupidity in the people that misinterpret them. You know what you do, but someone else sees it, and they want to talk about it or write about it, and so they misinterpret them.
How much more generous it would be if, instead of writing parables about childhood wounds, psychologists were to accept that some differences between the sexes just are, that they are in the nature of the beasts, because each sex has an evolved tendency to develop that way in response to experience.
Maybe being oneself is an acquired taste. For a writer it's a big deal to bow--or kneel or get knocked down--to the fact that you are going to write your own books and not somebody else's. Not even those books of the somebody else you thought it was your express business to spruce yourself up to be.
Know what makes a sentence more than a random list, practice constructing sentences and explaining what you have done, and you will know how to make sentences forever and you will know too when what you are writing doesn't make the grade because it has degenerated into a mere pile of discrete items.
Writing has such a power for expressionEven when you can’t talk with no one else in the whole world you can talk to your paper. Your feelings whether good, bad or indifferent. We call it despojo in Spanish, which means to be able to get rid of all this agony, weight inside of you. It brings clarity.
I think the tendency to over-explain and over describe is one of the most common failings in fantasy. It's an unfortunate piece of Tolkien's legacy. Don't get me wrong, Tolkien was a great worldbuilder, but he got a little caught up describing his world at times, at the expense of the overall story.
Like Flannery O'Connor, McCorkle's genius is to give us both philosophical speculation and a riveting narrative filled with unforgettable characters. Great writing, poignancy, humor, wisdom-all are in abundance here. Jill McCorkle is one of the South's greatest writers; she is also one of America's.
Frankly, as much as I love to improvise, it hasn't been difficult to stick to the script on 'Mad Men.' The writing is so precise, and the story so carefully crafted, that I don't think there's room - or need - for ad libbing. I could never come up with dialogue as lovely as these writers do, anyway.
Not only the studying and writing of history but also the honoring of it both represent affirmations of a certain defiant faith - a desperate, unreasoning faith, if you will - but faith nevertheless in the endurance of this threatened world - faith in the total essentiality of historical continuity.
Write like you write, like you can't help but write, and your voice will become yours and yours alone. It'll take time but it'll happen as long as you let it. Own your voice, for your voice is your own. Once you know where your voice lives, you no longer have to worry so much about being derivative.
To write is to carve a new path through the terrain of the imagination, or to point out new features on a familiar route. To read is to travel through that terrain with the author as a guide-- a guide one might not always agree with or trust, but who can at least be counted on to take one somewhere.
Maybe I would have become an actor. I was a very outgoing kid, but being in the hospital - being outside of social action for so long - turned me into an observer. Actually, right after I got out of the hospital, I did start writing a novel, but the book was so transparently about me that I stopped.
You have a huge number of people who spend their time writing papers which show that migrants pay more to the country than they take out in benefits, and they say, "Why don't you approve of migration? Why don't you open up borders?" They're not able to empathize with how people feel about migration.
Improvisation, it is a mystery. You can write a book about it, but by the end no one still knows what it is. When I improvise and I'm in good form, I'm like somebody half sleeping. I even forget there are people in front of me. Great improvisers are like priests; they are thinking only of their god.
Creative writing teachers should be purged until every last instructor who has uttered the words 'Write what you know' is confined to a labor camp. Please, talented scribblers, write what you don't. The blind guy with the funny little harp who composed The Iliad, how much combat do you think he saw?
How do I let the director know how obsessed I am and willing to do anything for the movie? Like, I wanted to write this one director a letter, so I wrote him a handwritten note. But then I was like, 'How many people are writing this guy handwritten letters? Is it going to seem cheesy? What do I do?'
If all sentient beings in the universe disappeared, there would remain a sense in which mathematical objects and theorems would continue to exist even though there would be no one around to write or talk about them. Huge prime numbers would continue to be prime, even if no one had proved them prime.
I knew that I wanted to be a singer/songwriter when I was much younger and, um, I've been able to, you know, to realize that dream and I'm very pleased with that...I want to branch out. I want to write. I write poetry...Music is an extraordinary vehicle for expressing emotion-very powerful emotions.
I am sure it has been done with less, but you should be prepared to write and throw away a million words of finished material. By finished, I mean completed, done, ready to submit, and written as well as you know how at the time you wrote it. You may be ashamed of it later, but that's another story.
I don't have any particular rituals, I sometimes like to write in longhand when I'm searching for ideas but I do the vast majority by typing, I can't always keep up with my thoughts longhand. I'm not a coffee shop writer because I feel obliged to order more coffee and then I end up over-caffeinated.
I don't feel I write fast. I write in longhand and do so much revision. On the page, it's so old-fashioned. I could write a whole novel on scrap paper, scribbles and things. I keep looking at it and something develops. For me, using a word processor would mean staring at a screen for too many hours.
If you can still write in spite of the fact that you're not getting paid, that nobody cares about what you're writing, that nobody wants to publish it, that everybody is telling you to do something else, and you still want to and you still enjoy it and you can't stop doing it...then you're a writer.
There are a couple of strategies for writing about an absence or writing about a loss. One can create the person that was lost, develop the character of the fiancee. There's another strategy that one can employ, maybe riskier... Make the reader suffer the loss of the character in a more literal way.
A revolution is not a dinner party, or writing an essay, or painting a picture, or doing embroidery. It cannot be so refined, so leisurely and gentle, so temperate, kind, courteous, restrained and magnanimous. A revolution is an insurrection, an act of violence by which one class overthrows another.
The most difficult thing in music is still to write a melody of several bars which can be self-sufficient. That is the secret of music. While the technique should be as perfected as possible, that is a lesser essential Anybody can acquire a brilliant technique Melody alone permits a work to survive.
He wouldn't write a letter because he couldn't without beginning it 'Dear Sylvia' and ending it 'Yours sincerely' or 'truly' or 'affectionately.' He's that sort of precise imbecile. I tell you he's so formal he can't do without all the conventions there are and so truthful he can't use half of them.
I think that anyone really can write songs, it just takes having an idea and a feeling and chasing it, and you can learn more about it. I think that's why I go to so many sessions. It is a craft that you can learn from other people. I find it to be the most fascinating thing. So I write a lot, yeah!
Whenever I've been stuck on a project, it's always brought me solace to the return to books that moved me in the past. It's a nice way to get outside my own head; and it brings me back to one of the most important reasons I write at all: to bring some pleasure to readers, to make them think or feel.
I don't find a lot of people actually saying things through music any longer. They are not trying to say anything with their music, they just want to make money with it. I think it's important to actually say something real, something meaningful, rather than just write some trash and try to sell it.
The agent never receipts his bill, puts his hat on and bows himself out. He stays around forever, not only for as long as you can write anything that anyone will buy, but as long as anyone will buy any portion of any right to anything that you ever did write. He just takes ten per cent of your life.
Our friendship was like our writing in some ways. It was the only thing that was interesting about our otherwise dull lives. We were better off when we were together. Together we were a small society of ambition and high ideals. We were tender and patient and kind. We were not like the world at all.
When I moved to Los Angeles, I wrote spec screenplays. I was really poor, and I thought I was just gonna do this for a while to make a little money so I could write novels. I thought movies were a second-class art form. I condescended to it - I didn't know enough to know it was really gonna be hard.
The manual for WordStar, the most popular word-processing program, is 400 pages thick. To write a novel, you have to read a novel - one that reads like a mystery to most people. They're not going to learn slash q-z any more than they're going to learn Morse code. That is what Macintosh is all about.
Once you play with these scenes and you're outlining it, again and again, and telling each other the narrative, and telling it to people you know, trying to make sure that the mathematics of the story work, you feel that those are in place, and the actual writing and final draft doesn't take as long.
Although I usually think I know what I'm going to be writing about, what I'm going to say, most of the time it doesn't happen that way at all. At some point I get misled down a garden path, I get surprised by an idea that I hadn't anticipated getting, which is a little bit like being in a laboratory.
When I first started writing songs and being very explicit, it was hard, but one of the main things people respond to in my writing is that 'just say it' attitude of my songs. There really is nothing personal or private; it's all universal, if you can just find the courage to be open about your life.
If I ask you to write down the last 4 digits of your social security number, and then take you out to lunch and ask you how many dentists there are in Manhattan, there's going to be a high correlation between those two numbers. What happens is that the number psychologically makes you feel confident.
With a song, it only takes a couple of minutes to go back to the beginning and try it again to see if it works. The novel freaks me out because, what if you get into the eighth chapter and think, 'Let's go to the top and see if this works again? It's going to take me three weeks.' I'm in awe of that.
You need a good editor because every writer thinks he can write a War and Peace, but by the time he gets it on paper, it's not War and Peace anymore; it's comic-book stuff. Your manuscript is both good and original. But the part that is good is not original, and the part that is original is not good.
The hardest thing to do is to write straight honest prose on human beings. First you have to know the subject; then you have to know how to write. Both take a lifetime to learn, and anybody is cheating who takes politics as a way out. All the outs are too easy, and the thing itself is too hard to do.
The theater's much the most difficult kind of writing for me, the most naked kind, you're so entirely restricted.... I find myself stuck with these characters who are either sitting or standing, and they've either got to walk out of a door, or come in through a door, and that's about all they can do.
The writer trusts nothing she writes-it should be too reckless and alive for that, it should be beautiful and menacing and slightly out of control. . . . Good writing . . . explodes in the reader's face. Whenever the writer writes, it's always three or four or five o'clock in the morning in her head.
The experience that I had in Paris I could never have ever again in my life. This is when I grew up as a young man. I was independent. There was no one there to talk to; I didn't even want to talk to anyone. I started to write about what I was experiencing, and I had no choice, so I was never scared.
Most of the time when I'm in Australia I'm not really working, it seems. I'm just at home, getting on with renovating my house or writing music or whatever. So I get back to doing all the stuff that I naturally do. Whereas if I'm away working, that's all there is to do, is to concentrate on the work.
I do not enjoy the promotional side of being a writer, to be blunt about it. Even with the little amount that is expected of me, which is nothing compared to the life of an artist. Writers can live in obscurity and come out of the woodwork with a book, then go back in. Artists don’t have that luxury.
I earn my living by teaching film, mostly filmmaking but also teaching courses on current cinema. I'm interested in movies. I hope that's not all I'm interested in. In that sense, it's maybe a little misleading. I don't expect to make another movie about films, but I may continue to write about them.
Have you noticed that they put advertisements in with your bills now? Like bills aren't distasteful enough, they have to stuff junk mail in there with them. I get back at them. I put garbage in with my check when I mail it in. Coffee grinds, banana peels...I write, "Could you throw this away for me?"
I sense a kind of fear of writing black or Asian characters from non-ethnic writers, who perhaps feel that they don't know the culture and therefore can't write about it. By and large, if there's an Asian character, I might get a call. But if the character is called 'Philip,' the chances are I won't.