Quotes of All Topics . Occasions . Authors
I think there's something really painful about your identity being entirely composed of ghosts. For me, I didn't want to be this kid whose Dominicanness was something caught utterly in the past, is an abstraction, the thing that I write about. Instead I wanted it to be, first and foremost, a thing that I lived.
After writing several Nutbrown Hare stories, I thought: what might happen when a little hare begins to explore the space around him? (Think of rivers, mountains, fields and trees!) Will there be fun? Oh yes. Will there be trouble ahead? Could be. For you, here are some of the adventures of Little Nutbrown Hare.
I tell aspiring writers that you have to find what you must write. When you find it, you will know, because the subject matter won’t let you go. It’s not enough to write simply because you think it would be neat to be published. You have to be compelled to write. If you’re not, nothing else that you do matters.
I'm finding that writing poetry is strengthening my songwriting, because you're learning to make a piece of writing work on a page with nothing else. I was also finding within poetry I felt a lot more free to write about very different matters, to write about social issues or things that are going on around me.
I grew up with the idealistic notion that writing and literature were noble causes. I had no inkling, no sense of what I would eventually encounter in terms of people who weren't being sincere. I'm not saying that it happens always or a lot, but it happens enough that sometimes it makes me feel a little queasy.
One can lose a good idea by not writing it down, yet by losing it one can have it: it nourishes other asides it knows nothing of, would not recognize itself in, yet when the negotiations are terminated, speaks in the acts of that progenitor, and does recognize itself, is grateful for not having done so earlier.
As a piece of writing, The Elementary Particles feels like a bad, self-conscious pastiche of Camus, Foucault and Bret Easton Ellis. And as a philosophical tract, it evinces a fiercely nihilistic, anti-humanistic vision built upon gross generalizations and ridiculously phony logic. It is a deeply repugnant read.
People ask me: "Do I consider myself to be a Latino writer?" "What does it mean to be Latino?" Those are very strange questions to answer , but feminism is easier because it's just an ideology, a way I live my life. And absolutely in the most political sense I try to sit down and write very strong female roles.
I never saw myself as a director. It's certainly a second language but making movies for 40 years, you pick stuff up. However, this style of making movies, this documentary style, is easier for me because I gather a lot of material and with an editor, write it on screen. You try to write based on what you shot.
I'll generally write out every scene that's in the film on a couple of pieces of paper, just with a little one-line. And then I can scan it a bit and go, 'This first third of the film, generally, I'm kind of calm.' Then I might do something on one piece of paper that just relates to the energy of the character.
When things are going well, you do have the sense that what you’re writing is being fed to you in some way. Auden compared writing a poem to cleaning an old piece of slate until the letters appear. The only way you could reveal your god is perhaps under hypnosis. It’s sacred and it’s secret, even to the writer.
Sometimes you get involved in a film because you just love making movies and you want to keep working. Sometimes you're lucky enough to find something that you really care about. Therefore, now I'm emphasizing developing my own projects and writing my own screenplays, so that I can do exactly what I like to do.
I try to write for highest common denominator. I don't write for dumb people. I figure if everybody doesn't get it, that's OK. Someone bright enough will get it, and that's who I write for. It's probably not the way to make million-sellers. What can I say? I won't apologize for trying to write for smart people.
I try to find clues in the documented record - from the subject's own testimony, from the testimony of other people. When you're writing a biography, you're trying to understand your subject in the same way that you try to understand one of your friends, and that effort at understanding is always very imperfect.
I'm lucky. I don't have to produce the whole movie. What I've been doing is just coming up with ideas for movies. I write a concept, a treatment, an outline, and if I sell that to a studio, then someone else does the actual production and I go on to another project, although I keep the title executive producer.
One demonstrable effect this type of work can have is in its viral promulgation. Take Kathy Acker for example: her work exists mainly through academic channels. Students are exposed to her novels, and some read her, then, on their own, but some also go to grad school: teach her, write about her, keep her going.
I had the most incredible English and literature teachers in school, and it really influenced my love of storytelling. It's what made me excited to study journalism in college. I love editorials and documentaries. All of that came from being given the opportunity to lose myself in good writing when I was a kid.
What does seem to be a constant is that I write more emotional stories the older I get. I think a lot of that has to do with growing up in a patriarchal structure where unemotional intellect (male) is taken more seriously than delving into emotions (female), and gradually freeing myself from those expectations.
As I write in the book, I do not regret either of my votes for President [Barack] Obama, nor my support of him when he ran for the Senate before that. I get excited as I ever did when I see that black man on Air Force One. But I won't settle for symbolism, and our President's record should be open for analysis.
Kools and Newports were for black people and lower-class whites. Camels were for procrastinators, those who wrote bad poetry, and those who put off writing bad poetry. Merits were for sex addicts, Salems were for alcoholics, and Mores were for people who considered themselves to be outrageous but really weren't.
Anyway, these books I love, they’re all books by men—every last one of them. Because if it’s unseemly and possibly dangerous for a man to be angry, it’s totally unacceptable for a woman to be angry. I wanted to write a voice that for me, as a reader, had been missing from the chorus: the voice of an angry woman.
Ever read any [Friedrich] Hayek? He's great. The Road To Serfdom is like... I'm not a big political-science reader, but I actually dog-eared my copy. I ended up going back through it and writing a précis, I was so impressed by this book. It's all about what happens when government tries to make everything right.
I was most confusedly in love. ... Even though I resolved not to think of him, his face would keep appearing between me and a book I tried to read, or his voice would suddenly sound instead of the words I tried to write on a page. ... I found love annoying and uncomfortable, like fetters, until I got used to it.
People imagine that there are rituals, like lighting candles or sacrificing chickens. They really just want to know what the magic formula is for writing. I inevitably disappoint them by saying you just put your butt in the chair, and you write 500 words a day, and then you get up and repeat it the next morning.
I mean, if we're concerned genuinely with writing, I think we probably get on with our work. I think this is very true of English writers, but perhaps not so true of French writers, who seem to read each other passionately, extensively, and endlessly, and who then talk about it to each other - which is splendid.
That literary-popular distinction is, in my view, vastly overstated. At the far poles there are clearly books that are purely commercial and purely literary, written for audiences that want to see the same thing enacted over and over and over again. But the middle is where most people read and most people write.
The evidence for our New Testament writings is ever so much greater than the evidence for many writings of classical authors, the authenticity of which no one dreams of questioning. And if the New Testament were a collection of secular writings, their authenticity would generally be regarded as beyond all doubt.
I'm an indulgent writer - I'm not sure, however, that's something I'm interested in changing. Writing should be indulgent: you should take big risks on the page, you should make big mistakes, you should be excessive at times. I let myself do as a writer what I probably would be less likely to allow as an editor.
The liberty of the press would be an empty sound, and no man would venture to write on any subject, however, pure his purpose, without an attorney at one elbow and a counsel at the other. From minds thus subdued by the fear of punishment, there could issue no works of genius to expand the empire of human reason.
The important thing about doing art and writing is that we are using our voices and using them really, really loudly. And to any girls or young women who want to write comics, I tell them, "You have to use your voice. You have to take up space." We have to fight to be heard. No one else is going to fight for us.
If you want to be a writer, all you need is a piece of paper and a pencil, and I had a manual typewriter. It doesn't cost money to write. It costs money to make art. So I would just write. I would hand out stories in the classes in high school. And the teacher would say, "Whatever you do, don't become a writer."
According to Chekhov," Tamaru said, rising from his chair, "once a gun appears in a story, it has to be fired." "Meaning what?" "Meaning, don't bring unnecessary props into a story. If a pistol appears, it has to be fired at some point. Chekhov liked to write stories that did away with all useless ornamentation.
I love writing but hate starting. The page is awfully white and it says, "You may have fooled some of the people some of the time but those days are over, giftless. I'm not your agent and I'm not your mommy, I'm a white piece of paper, you wanna dance with me?" and I really, really don't. I'll go peaceable-like.
My motto is: write about anything you bloody well like; just make sure you do it effectively. We've all had all the emotions, the rest is research and that leap which some can do and others cannot - it's not really something you can learn, otherwise all academics of literature would be wonderful fiction writers.
When I've acted, and it's not been something I've written or have had at least a hand in writing, I do think there is a controlling side of me that is frustrated by that. And I actually don't think that it's a bad thing, because if I'm going to be in movies, in large part they're going to be movies that I write.
In high school, I went to a place called the Mountain School. It's on a farm in Vermont, and I read Emerson and Thoreau and ran around the woods. Now I go hiking with a bunch of my comedy buddies. We talk about our emotions. I also do a lot of writing on hikes, just to get the blood flowing and the ideas moving.
Jorge Luis Borges wrote a poem when he was in his 80s about one day writing the book that would justify him. This was long after he had become one of the great masters, a writer everyone looks up to and reveres. As artists, I don't think we ever see ourselves as done. We always think we're at the beginning . . .
When I set out to write a screenplay, I have in my mind a beginning and an end but that end part continually changes as I start to write the middle. That way by the time the screenplay is finished I have taken myself and my audience from a familiar beginning point through the story to an unfamiliar ending point.
If I had to make a choice between only writing about sports or only writing about music, I would probably write about music. I'm not sure why that is. There seems to be more to write about with music, just because it's more of a splintered thing. There's more subgenres. With sports, it's more objective in a way.
Writing is the great skill, the creative skill. The acting is more an interpretative skill. And the thrill for me is the moment when I think of something. And then the challenge is how to get that funny idea to work in terms of the structure and that kind of thing, which is - and that's what I really love doing.
I think the key to writing the truth of our existences, so much of this is being incubated online, is examining the conflicts and the messiness, our sometimes dividedness, dealing with gender and other hierarchies, and also our identities outside of them, deeply personal and yet somehow critical and circumspect.
You should look ahead now and decide what you want to do with your lives. Fix clearly in your mind what you want to be one year from now, five years, ten years, and beyond. Write your goals and review them regularly. Keep them before you constantly, record your progress, and revise them as circumstances dictate.
With a novel, you have to have a story. It's much more important to have it matter to the reader what happens to people, and it has to make sense and end in a way that is satisfying. So I spend a lot more time thinking about that. Then the writing itself usually is easier for me, because I know where it's going.
I was visiting my mother in Florida when the September 11, 2001 attacks happened. I was working on The Tale of Despereaux at that point. I had already gone into writing it with a great deal of trepidation and fear, and then this God-awful thing happens and it was really hard to even get back home to Minneapolis.
Woman must write her self: must write about women and bring women to writing, from which they have been driven away as violently as from their bodies - for the same reasons, by the same law, with the same fatal goal. Woman must put herself into the text - as into the world and into history - by her own movement.
I started out as a poet who primarily wanted to write about image and moment. Over the years I've been trying to teach myself how to do plot and scene. My first story collection had the most issues with the plotlessness, and when I was writing my second collection I was teaching myself how to make things happen.
I was definitely looking for a reason to impose rules in the story during the writing process... a set of reasons that you could graph for why it's not chaos and anarchy - for why it has to be order, and why you need architects and an architectural brain to create the world of the dream for the subject to enter.
Sarah [Silverman] writes her own jokes. She doesn't just go through her life and talk about everything. She sits down and crafts jokes. Sometimes her inspiration comes from areas of her life that are risqué. But she is an A-plus professional joke-writer in addition to being very attractive and a great performer.
One of my friends said to me, "Oh yeah, of course you aren't writing." So I was like, "The next time you see me, I'm gonna have a new song." I wrote "Criminal" in 45 minutes when everyone else went to lunch because I had to have a hit. I can force myself to do the work, but only if someone is right up behind me.
Beware of clichés. Not just the clichés that Martin Amis is at war with. There are clichés of response as well as expression. There are clichés of observation and of thought - even of conception. Many novels, even quite a few adequately written ones, are clichés of form which conform to clichés of expectation.