Quotes of All Topics . Occasions . Authors
Everyone likes to stereotype things or write them off as not that serious or "this is just a phase," especially when you're that young. The music was never a phase, but the wardrobe was certainly a phase, so I think that may have overshadowed the music in the beginning, for sure. I was so outrageous.
When I was a kid, I suppose I got more praise for being able to draw things and paint things than I did for my little amateur poems I was writing. But the thing that I'm trying to do with my painting is that I'm trying to keep it in the realm of pleasure. I don't show my work, I don't try to sell it.
I love that moment in writing when language falls short. There is something more there. A larger body. Even by the failure of words I begin to detect its dimensions. As I work the prose, shift the verbs, look for new adjectives, a different rhythm, syntax, something new begins to come to the surface.
Writing well involves walking the path of most resistance. Sitting still, being patient, allowing the lunatic dream to take shape on the page, then the shaping, the pencil on the page, breathing, slowing down, being willing–no, more than willing, being wide open–to press the bruise until it blossoms.
Inexperienced fiction and creative nonfiction writers are often told to show, not tell - to write scenes, dramatize, cut exposition, cut summary - but it can be misguided advice. Good prose almost always requires both showing and telling, scenes and summary, the two basic components of creative prose
The single greatest line I ever wrote as an analyst was after Lomas said they were hedged: 'The Lomas Financial Corporation is a perfectly hedged financial institution: it loses money in every conceivable interest rate environment.' I enjoyed writing that sentence more than any sentence I ever wrote.
I read everything I could find in English - Twain, Henry James, Hemingway, really everything. And then after a while I started writing shorter pieces in English, and one of them got published in a literary magazine and that's how it got started. After that, graduate school didn't seem very important.
I'm not an activist. I'm a filmmaker. I'm a dramatist. My strength is to tell a story, to find a way to tell a story that makes it exciting. Our Untold History was a huge challenge. Snowden was no piece of cake, because writing code and breaking code is some of the most boring stuff you've ever seen.
While writing is a mystical process, it's also work. If you show up to work five days in a row, nobody's going to pat you on the back - everyone does that. Well, do that with your writing. Just show up. Be there for it. When you get an idea, write it down somewhere and then be a steward of that idea.
You know, the age thing really bugs me. Do people have more of a right to not like what I say because I'm 19? I'm up here because of what I write. Obviously, I must know something, or I wouldn't have been nominated for Best New Artist. Sometimes it's like, "You're right. My mother wrote these songs."
To be honest, that whole exchange with Crunk Feminist actually made me write the song because I realize there's a lot of young women out there so hurt by the misogynistic images in hip-hop they paint it with such a broad brush stroke that they think anybody that defends hip-hop is defending misogyny.
Basically, it's somebody who got stuck having to interview me who really wants to be a novelist, so they're writing these novellas and I was like, "It's not true, that didn't happen, they just made all that up! Why don't they just go ahead and be a novelist instead of bothering with interviewing me?"
Some people see me as dissecting my characters in some kind of heartless, coldblooded, analytical way, when in truth making these movies is a passionate, intensely emotional experience for me. I'm detached from the characters only to the degree that I have to be in order to write honestly about them.
If you feel bored or uncomfortable as you're writing, ask yourself what's bothering you and write about that. Sometimes your creative energy is like water in a kinked hose, and before thoughts can flow on the topic at hand, you have to straighten the hose by attending to whatever is preoccupying you.
I wanted to try to make songs that worked as songs, not just as productions. People wanted me to do a solo acoustic session, they were like "Can you play song on the piano?" and I was like "Not really. It doesn't really work." I wanted to write songs that would work in a variation of instrumentation.
I write a lot of my best music in the car, like late night. Three, four in the morning. I'm in the passenger seat, I got my driver, my getaway driver. My Bonnie, I'm Clyde. That's when everything is just settled. In the daytime it's chaotic. Everybody just goin' nowhere fast. In a rush to go nowhere.
We're having so much writing some of the sillier stuff that never would have been on Mr. Show. And that's not a knock on Mr. Show at all, because it's my favorite comedy show of all time. Even before I worked on it. It's just really refreshing to write something so stupid and say, "We gotta do that."
If you write something that gets a bad response, or someone commits candor or is off message, there are often consequences almost immediately when it appears in the paper or a magazine, that somebody gets called into the boss's office. And sometimes it can result in a loss of access for the reporter.
I wrote [Collateral Beauty] on my own. I didn't get paid to write it. I didn't sell it as a pitch. It was an idea I had that I really, really felt needed to be in script form before showing it to anyone in the industry because of the uniqueness of the idea, and the weirdness of the idea, to be frank.
There are just long gaps where I can't find a point of insertion, I can't find a good opening line, I can't find a mood that I want to write into. But once I do, once a line falls out of the air, or I get a little inkling of a subject and I recognize that, it's like the sense that a game has started.
Constant work, constant writing and constant revision. The real writer learns nothing from life. He is more like an oyster or a sponge. What he takes in he takes in normally the way any person takes in experience. But it is what is done with it in his mind, if he is a real writer, that makes his art.
When talented people write badly, it's generally for one of two reasons: Either they're blinded by an idea they feel compelled to prove of they're driven by an emotion they must express. When talented people write well, it is generally for this reason: They're moved by a desire to touch the audience.
All writing seems to me worse in the state of proof than in any other form. In manuscript one's own wisdom is rather remarkable to one, but in proof it has the effect of one's private furniture repeated in the shop windows. And then there is the sense that the worst errors will go to press unnoticed!
So, you see, it's a real chore for me to write a book review because it's like a contest. It's like I'm writing that book review for every bad book reviewer I've ever known and it's a way of saying [thrusts a middle finger into the air] this is how you ought to do it. I like to rub their noses in it.
I am much more likely to care about someone trying to be funny and give them some credit for whatever he or she did that was remotely funny than I am to be mused by somebody declaring this isn't funny, that isn't funny, this sucks. If you want to write humor, you're going to have to get used to that.
Writing objects to the lie that life is small. Writing is a cell of energy. Writing defines itself. Writing draws its viewer in for longer than an instant. Writing exhibits boldness. Writing restores power to exalt, unnerve, shock, and transform us. Writing does not imitate life, it anticipates life.
To know that one does not write for the other, to know that these things I am going to write will never cause me to be loved by the one I love (the other), to know that writing compensates for nothing, sublimates nothing, that it is precisely there where you are not--this is the beginning of writing.
My writing just kind of exists out there in the air-it's all sort of intended as spoken, or sung, word. So, to commit them to the page...that way was kind of intimidating to me, yet intriguing, to try to reflect the rhythms and connotations and emotions that you can deliver, speaking-wise, on a page.
It's definitely about the rhythm of the words and how they sound together, writing one sentence and then another and another and cutting something immediately if it doesn't feel true. I come from a family of musicians and - while I have no musical abilities of my own - I think I inherited a good ear.
There are very few good writers about art, and you either get art-fashion writing with trendy views or you get very traditional writing. Occasionally, you get people who can write in an interesting way. Really, I think in a sense art writing needs to be renewed as well. It's in a pretty bad condition.
If something depressing is happening, that's gold. That's the best possible situation you could be in. But if that doesn't happen, you just have to make up stuff - it's more fun because you have more freedom with what you can write about. You can invent characters and situations. It's actually easier.
To write poetry, like sincere poetry, it is like performing heart surgery on yourself without anesthesia...in public...You are peeling back layers. You are dissecting yourself...You do not know what they [the audience] is going to do when you reach into yourself and rip out your organs to be displayed
No author, without a trial, can conceive of the difficulty of writing a romance about a country where there is no shadow, no antiquity, no mystery, no picturesque and gloomy wrong, nor anything but a commonplace prosperity, in broad and simple daylight, as is happily the case with my dear native land.
Now you know you're going to have to play music for the label, you know you're going to have to get an opinion from the manager. Now, I'm so much more conscious and it bothers me. I try to find my way back to writing without being too analytical or not thinking about whether this is good or is it bad.
I said that Mrs Obama has been extremely supportive of American designers, but clearly we were disappointed that she chose to wear a British designer for the state dinner...From there, I was so embarrassed that I am definitely going to write to her. She has been super supportive to American designers.
You spend most of your time as a director trying to move forward with the movie. It happens on a daily basis, if not more than once a day, that you are struggling with budgetary constraints. Whereas when you're writing, the limitation that you have is your imagination. So it's decidedly non-pragmatic.
If you want to be good at anything, you have to work hard at it. It doesn't just fall from the sky. I work every day at trying to improve my writing, and I really enjoy it. Nothing fascinates me more than putting words together, and seeing how a collection of words can produce quite a profound effect.
Every time you pick up the phone, dial a number, write an e-mail, make a purchase, travel on the bus carrying a cell phone, swipe a card somewhere, you leave a trace, and the Government has decided that it's good idea to collect it all, everything, even if you've never been suspected of doing a crime.
Three characteristics a work of fiction must possess in order to be successful: 1. It must have a precise and suspenseful plot. 2. The author must feel a passionate urge to write it. 3. He must have the conviction, or at least the illusion, that he is the only one who can handle this particular theme.
Hillary Clinton`s plan would trigger a constitutional crisis unlike almost anything we have ever seen before. In effect, she would be abolishing the law-making powers of Congress in order to write her own laws from the Oval Office. And you see what bad judgment she has. She has seriously bad judgment.
I did a lot of this through writing flashbacks. Many of the flashbacks took place at Cal's school and I eventually cut them because they didn't seem essential and they slowed the pace of the story in the first third of the book. They were essential to me, though, in that I learned about my characters.
The effects of MFA programs, and the rise of creative writing instruction more generally, are far more diffuse than people think. Even if you're a writer who has avoided institutions your whole life, you're still going to be reading a lot of writers who have MFAs, and are affiliated with universities.
I believe the first story I ever wrote was about a young girl who was terribly mistreated by her very cruel parents, and one day the girl fled to the woods to live amongst a pack of wolves. Hey, I was eleven, loved wolves, and had been grounded for what I felt was a minor infraction. Can you blame me?
The worst thing that ever happened to writing is that it became a business, The purpose of business is to make money, and to achieve that end it is necessary to please as many people as possible, to amuse them, to entertain them - in short, to do everything that will help increase the volume of sales.
As a young victim of bullying and then, later, a vindictive perpetrator of violence myself, I've known both sides of this experience, and I tried very hard in the writing here to be as absolutely honest as I possibly could, to not romanticize myself or my past actions or cowardly inactions in any way.
The mechanic could lift up the bonnet of the car and show me four dwarves strapped to a pair of tandems and tell me that the motor was actually dwarf-powered and that one of the little fellows had to be replaced, and I'd just be numbly writing out a cheque and scribbling 'new dwarf - car' on the stub.
I was interested in writing a child's understanding of a cataclysmic event - something experienced in fragments, whispers, viewed from around corners - and it seemed to me a child would try to understand it through stories and games, which distort and change the experience, then become the experience.
I actually run a non-profit where one of the main objectives is to branch out and get a new audience for the theater. Just because the writing is so good and nothing is more effective than seeing something live and happening right in front of your face, so I definitely want to continue to pursue that.
Write. Remember, people may keep you (or me) from being a published author but no one can stop you from being a writer. All you have to do is write. And keep writing. While you’re working at a career, while you’re raising children, while you’re trout fishing--keep writing! No one can stop you but you.
I have even seen the writings suggesting that I am playing a deep game, that I am using the present turmoil to foist my fads on India, and am making religious experiments at India's expense. I can only answer that Satyagraha is made of sterner stuff. There is nothing reserved and nothing secret in it.