Quotes of All Topics . Occasions . Authors
Professors will lecture with more inspiration if they occasionally alternate the classroom with the beach: authors will write better when, as Macaulay used to do, they write for two hours, then pitch quoits, and then go back to their writing. But certainly more than the mere mechanical alternation is involved.
It is not possible, for a poet, writing in any language, to protect himself from the tragic elements in human life.... [ellipsis in source] Illness, old age, and death--subjects as ancient as humanity--these are the subjects that the poet must speak of very nearly from the first moment that he begins to speak.
I was entirely wrapped up in the idea of becoming an actor. I learned how to write on the job, basically out of necessity. I always thought it'd be fun to write something, but it never was an ambition of mine, per se. I just thought, "Well, maybe I'll do it one day just for the hell of it and see if it works."
A lot of young artists in particular think you can just do one great thing and then sit back and collect checks. Most artists, even people like Dan Clowes, who's one of my heroes, don't just do comics. He does paid illustration. He writes screenplays, and so forth, working and selling lots of different things.
I didn't know how story worked. So, when writing the screenplay, people introduced me to the science of it. And I'm grateful. I'll probably use that information for the rest of my career, in terms of writing novels or writing stories. And then, of course, to help me live a better story, a more meaningful story
I was talking to Jackson Browne on the phone. He said, 'I'm the slowest writer in the world.' I said, 'No, no, no. You're the second slowest. It seems the older you get the slower they come. I wonder if it is like that for everybody?' He said, 'It ain't with Don Henley. He seems to be writing more than ever.'"
I think having a good agent is key. I've been with mine for ten years now, and she's very honest with me. There are a lot of times I've sent her books that were not so good because I was tired of writing, or panicked about money, and she's told me flat out, "You don't want this to be your next book. Trust me."
I've published many biographies over the years and enjoyed working with writers on their research, discussing it, thinking about it and how it revealed their subject - and one day the impulse came to me to write a life of someone. I made a long list of possible subjects and [ Barbara] Stanwyck was on the list.
I've always thought, "I could probably write one of these country songs and send them to these places and make up this fake country band. Wouldn't it be awesome to have a completely parallel career and have nobody know about it?" I think I could get away with it. I'd be the guy from Oklahoma with country cred.
The best way to do that is to pick up a new instrument or an instrument that you don't typically write on and see where it takes you. Whether it's using an acoustic guitar, or piano, or electronics as tools, all of these lead to creating different types of songs and I used all of these methods for this record.
I enjoy writing about people falling in love, probably because I think the first time you fall in love is the first time that you have to figure out how you're going to orient your life. What are you going to value? What's going to be most important to you? And I think that's really interesting to write about.
The whole idea of mindfulness is all about having a second-level monitoring of your thoughts and being able to recognize them as being negative or harmful before they become a part of your being, before they become some kind of action like writing an angry letter to someone or speaking too strongly to someone.
Crossing out is an art that is, perhaps, even more difficult than writing. It requires the sharpest eye to decide what is superfluous and must be removed. And it requires ruthlessness toward yourself -- the greatest ruthlessness and self-sacrifice. You must know how to sacrifice parts in the name of the whole.
There is a problem in America. An Irish or Polish American can write a story and it's an American story. When a Black American writes a story, it's called a Black story. I take exception to that. Every artist has articulated to his own experience. The problem is that some people do not see Blacks as Americans.
For me, form is something I locate in the process of writing the poems. What I mean is, I start scribbling, and then try to form the poem - on a typewriter or on my computer - and, by trial and error, try to find the right shape. I just try to keep forming the poem in different ways until it feels right to me.
I think empathy is a guy who punches you in the face at a bus station, and you're somehow able to look at that him and know enough about what situation he was in to know that he had to do that and not to hit back. That's empathy, and nothing ever happens in writing that has that kind of moral heroism about it.
Those who count on quote 'Hollywood' for support need to understand that this industry is watching very carefully who's going to stand up for them when their job is at stake. Don't ask me to write a check for you when you think your job is at risk and then don't pay any attention to me when my job is at stake.
My interest as a writer is not in reflecting actual human speech, which, of course, does not occur in sentences and is totally undiagrammable. My interest is in trying to reflect the reality of experience - how we feel when we talk to each other, how we feel when we're engaging with questions that interest us.
I'm not against sentimentality. I think you need it. I mean, I don't think you get a true picture of people without it in writing... It's a kind of poetry, it's an emotional poetry, and, to bring it back to the literary scene, I don't think anything is true that doesn't have it, that doesn't have poetry in it.
I always think, OK, this is good, but I'll do it better next time. "And so we beat on, boats against the current. . ." It may not be the recipe for a life of contentment, but that imperfectability is what makes writing such an engaging endeavor, something you can do for the rest of your life and not get bored.
Working on Drive, a lot of fun. This is Tim Minear whom I've worked with before on Firefly of course. He called me up and said I've got a part for you that you will love and I love Tim's writing. I love his stories. I love his characters, his dialogue. He has a knack for reveals and he has a knack for moments.
If you really hate me, you should at least have the courtesy to take out a piece of paper and write it down and mail it to me. If you're a worthy nemesis, I want to see your handwriting. I want to see your name and your address, and if you don't have the guts to give me those, then you're not a worthy nemesis.
I realized Michael was right. I mean, I am always writing in this journal. And I do compose a lot of poetry, and write a lot of notes and emails and stuff. I mean, I feel like I am always writing. I do it so much, I never even thought about it as a talent. It's just something I do all the time, like breathing.
The best morals kids get from any book is just the capacity to empathize with other people, to care about the characters and their feelings. So you don't have to write a preachy book to do that. You just have to make it a fun book with characters they care about, and they will become better people as a result.
My feeling is that, and I've been writing about my family over the years, although it might make them feel uncomfortable, people generally like to be written about. If I've written a song about the family, they enjoy being mentioned in the songs. Nobody's confronted me and said 'don't write any songs about me.
The Mathematician's Shiva is a brilliant and compelling family saga full of warmth, pathos, history, and humor, not to mention a cast of delightfully quirky characters, and a math lesson or two; all together, a winning equation! When Rojstaczer writes about mathematics, you'd think he was writing about poetry.
I love making music. I feel like people often get into that 'you should only make music for yourself' kind of place, where they say things like, "I don't write for other people, I write for myself," and I feel like that misses the mark so much because music, especially pop music, is so much more than yourself.
I consider myself a songwriter before anything else. The fact that I have been able to write both of my records and establishing myself as a songwriter is super-important to me. Some people have that gift, where they can take on anything and make people believe it. I like to do a song from personal experience.
I write constantly, so it flows from one project to the next, and I would edit everything endlessly if I had the chance. I can always see ways to improve what I've done. At the same time, knowing it's all an ongoing life's work allows me to be less precious about blind alleys, failed experiments, and misfires.
It's been said that happiness writes white. It doesn't show up on the page. When you're on holiday and writing a letter home to a friend, no one wants a letter that says the food is good and the weather is charming and the accommodations comfortable. You want to hear about lost passports and rat-filled shacks.
For someone who is starting out on developing their critical skills, just being aware of its existence is great: it can make the difference between trying to write a story around a cliche or an original idea, and better still, studying it can eventually clue you in on how to breathe new life into tired tropes.
A lot of people feel like urban fantasy is a shortcut that gets you around world-building, because it's set "in the real world." But it doesn't really work that way, as I found out. You have to come up with just as consistent an internal cosmology and magic system as you would if you were writing high fantasy.
Let the grass die. I let almost all of my indoor plants die from neglect while I was writing the book. There are all kinds of ways to live. You can take your choice. You can keep a tidy house, and when St. Peter asks you what you did with your life, you can say, I kept a tidy house, I made my own cheese balls.
Too many Americans have twisted the sensible right to pursue happiness into the delusion that we are entitled to a guarantee of happiness. If we don't get exactly what we want, we assume someone must be violating our rights. We're no longer willing to write off some of life's disappointments to simple bad luck.
I write almost all my songs on an acoustic guitar, even if they turn into rock songs, hard rock songs, metal songs, heavy metal songs, really heavy songs I love writing on an acoustic because I can hear what every string is doing; the vibrations haven't been combined in a collision of distortion or effects yet.
If there is any message in the 'Wimpy Kid' books, it is that reading can be and should be fun. As an adult reader, when I see an obvious moral lesson to be taught, I run in the other direction... Kids can sniff out an adult agenda from an early age. I'm writing for entertainment, not to impress literary judges.
I refuse to censor myself and kids will find their own way to my books and to all of the books that matter to them. As I write more honestly more kids will make their way toward me. And in subverting their repressive parents kids will learn the value of subverting the repressive nature of all authority figures.
I have a group of cafes and coffee shops that I go to regularly. They usually have an area where I can plug in my computer and have a corner seat where I can do a couple hours of writing or whatever, even the noise of the surrounding people walking by. Those things are the things that stimulate me into writing.
I write a little plan for the day. I write down what time I need to get up to go to the race, just so I'm organised in my mind. That way all I have to focus on during the day is the race, not how I'm going to get there. When you're training it's good to know what you're doing every day. You need to have a plan.
If you are angry, why not try this. Write a letter. Pour out all of your feelings, describe your anger and disappointment. Don't hold anything back. Then put the letter in a drawer. After two days, take it out and read it. Do you still want to send it? I've found that anger and pie crusts soften after two days.
When I write, I lose time. I'm happy in a way that I have a hard time finding in real life. The intimacy between my brain and my fingers and my computer... Yet knowing that that intimacy will find an audience... It's very satisfying. It's like having the safety of being alone with the ego reward of being known.
I don't have an audience in mind when I write. I'm writing mainly for myself. After a long devotion to playwriting I have a good inner ear. I know pretty well how a thing is going to sound on the stage, and how it will play. I write to satisfy this inner ear and its perceptions. That's the audience I write for.
Information is floating around really fast. I write something, or a piece of my music comes out and I see people writing about it on the Internet as if I'm having a conversation with them. We've never met, but somehow, my music is communicating something to them. Very often, it really makes them feel something.
I've always known that I was a gifted person. ... I've always felt like I would be punished, severely, if I didn't continue to make use of that gift. It's very important that you don't let the muscle get flabby. It's really hard, as an old human being, to press as much weight as you pressed when you were a kid.
In the end I created a career of my own, concentrating on my writing and lecturing, reaching larger audiences than I would had I ended up with tenure and a full teaching load. It was Virginia Woolf who said that it is terrible to be frozen out of a sacred tradition - but even more terrible to be frozen into it.
People can write jokes five minutes after a major world event happens, and have hundreds of thousands of people read them within 10 minutes. Whereas before you write a joke, you don't know if anybody is really touching on it or not, and you tell it onstage the next night. For joke writing it has changed things.
William Faulkner was the master of what one must do to be serious. But I don't understand why people haven't moved forward from that, why that's not where the line in the sand is that you would see from. When I think about the reception of my own writing and what seems "difficult," there is an actual precedent.
The Zen way of calligraphy is to write in the most straightforward, simple way as if you were a beginner, not trying to make something skillful or beautiful, but simply writing with full attention as if you were discovering what you were writing for the first time; then your full nature will be in your writing.
The "Kumulipo" is an old Hawaiian prayer chant that poetically describes the creation of the world. The word literally means "beginning-in-deep-darkness." Here darkness doesn't connote gloom and evil. Rather, it's about the inscrutability of the embryonic state; the obscure chaos that reigns before germination.
I'll give you the sole secret of short-story writing, and here it is: Rule 1. Write stories that please yourself. There is no rule 2. The technical points you can get from Bliss Perry. If you can't write a story that pleases yourself, you will never please the public. But in writing the story forget the public.