Quotes of All Topics . Occasions . Authors
People are really surprised when they meet me that I'm a recluse. People think I'm very gregarious and outgoing - and I am - I'm thinking about writing a book about it called 'The Gregarious Recluse.' How the more that you put me out there in front of audiences, the more that when I have down time I have to disappear.
Humanity is a failed experiment, but I think I'm God and I'd like to start over. I don't want to die, I just want everyone else to. I certainly would not be lonely. It would be exciting never having to listen to another person again but just my own self droning on and on. That's why I write a blog. And I read it, too.
I discovered John Truby ten years ago when a friend told me about his screenwriting course. I studied Truby's principles for a year and -- using them -- I wrote the first draft of The Thieves of Ostia in two weeks. I go back to his teachings before each new book I write. Each time I study Truby, I learn something new.
I tried once in my life to write a novel. I had written something like 80 pages of it when my laptop got stolen. When I told people this, they acted as if something tragic had happened, but I kind of felt relieved, grateful to the thief who saved me from another year of something that felt more like homework than fun.
I feel really uncomfortable writing about Sudan when I'm not there. It always looks different. When you're outside Sudan it's easy to lose sight of how much of what happens is driven by local politics. And when you're in America in particular, there's this sense that what D.C. has to say is the only thing that counts.
If you want to lose 40 pounds, you order salad instead of fries. If you want to be a better friend, you take the phone call instead of screening it. If you want to write a novel, you sit down and write a single paragraph. It's scary to make major changes, but we usually have enough courage to take the next right step.
I made a conscious decision when I was writing that book to depict in real time how I treated it, and how I thought about it, and how I portrayed it to other people, because I wanted the story to be one of change from that to a more honest appraisal, a more accepting appraisal of myself and other people in that world.
As a director you already have a script, you have actors... you have collaborators when you're a director. When you're writing there's no one to collaborate with, there's no material to look at. I haven't adapted something yet, so, I'm sure that would be helpful. When you're writing an original piece you have nothing.
One piece of advice can be universally handed out, and it applies equally to speaking, understanding, reading, and writing. If in the course of any of these language activities, you run across words whose meaning or use baffles you, don't by-pass them. Look them up in the dictionary and familiarize yourself with them.
I think the term "artist's novel" for me has referred to writing which supports an art practice or a more specifically a particular artwork or project. The nonfiction novellas and nonfiction novel I have written play a role in my artwork as objects - which I will return to, but I write the books to exist autonomously.
Alice and I, we'd met before, but we were able to kind of sit and chat on the set of Dark Shadows, and talk about maybe writing some songs together. We started doing that, and then one thing led to another and it became this Vampire project - because he was telling stories about all those days, which were fascinating.
I remember writing lyrics for 'Take Me to Church' for a long time before I even had a song in mind for. It's not that I was trying to write that song for a year, but sometimes you just kind of collect lyrical and musical ideas and don't actually complete the song until you feel like they work together and have a home.
If I buy a Fiat Uno, I'll read that, for a man like me, a Ferrari was more suitable. If instead I buy a Ferrari, they'll write that I should have kept my feet on the ground and bought a Fiat. If I smile, I'm not serious. If I don't smile, I'm a rich sulker that doesn't enjoy having the most beautiful job in the world.
I wanted to be involved with the making of some kind of parallel world. I thought, there's no reason to go to different parts of our world, because you can write them. You can stay home, stay in a little room, and imagine all these worlds. And I wanted to do that. Why did I want to do that, I'm not sure if I can tell.
I've done lots of songs for film soundtracks and things like that-stuff I'm not ashamed of, but that doesn't represent my legacy with the Pretenders...I think domesticity certainly doesn't make it easy to write, you know, because you've got a lot of distractions and I think a writer is always looking for distractions.
From my earliest childhood I nourished and cherished the desire to make a creditable journey in a new country, and write such a respectable account of its natural history as should give me a niche amongst the scientific explorers of the globe I inhabit, and hand my name down as a useful contributor of original matter.
The New Testament writers I think conceive of their inspired Scripture writings as flushing out, bringing to articulation, expounding and so on the climactic revelation in the son, but this in self-conscious fulfillment of the promises and covenants that were already made to God's chosen people in Old Testament times.
We are so programmed to feel that our emotions are the most important thing in the Universe...We write, produce and act in the story of me. And then we write reviews - and read them and get more depressed. All we can do is let go, and that comes from training. And then we spend less and less time in the darker spaces.
My own view is simply that there are some very basic rules; very simple rules that apply to all writing in a way, which is: don't lie; if you're wrong, correct; do not misrepresent; and try and keep oneself intellectually honest - which means, as a writer, the very difficult task in public of admitting you were wrong.
The only phenomenon with which writing has always been concomitant is the creation of cities and empires, that is the integration of large numbers of individuals into a political system, and their grading into castes or classes. It seems to have favored the exploitation of human beings rather than their enlightenment.
Ritsu: Please, Onii-san, please write with takoyaki power! Mitsuru: Yes, sensei! With ikyayaki or takoyaki or whatever it takes! Write quickly, without hesitation! Ah... Um... W-what is takoyaki power? Ritsu: Well, that is--! When Shigure-niisan eats takoyaki, he transforms into a great warrior... Shigure: No I don't.
In fact I wonder if I should bend my own rules a little and for the sake of writing a good song it doesn't have to been so autobiographical, but that's a stupid rule to live by as some of my favourite artists' songs, they have a song that you think is about their life [which] probably even isn't, but it's a great song.
I have a great deal of hope. I think that change is here, it's happening. But I know that if we think it's just going to happen on its own, that's not the way it works. We need people to keep talking about women of color writing comics and living the charge. Not just talking but doing. Making art, putting it out there.
The surrealist thinks he has outstripped the whole of literary history when he has written (here a word that there is no need to write) where others have written "jasmines, swans and fauns." But what he has really done has been simply to bring to light another form of rhetoric which hitherto lay hidden in the latrines.
When I sit down at the typewriter, I write. Someone once asked me if I had a fixed routine before I start, like setting up exercises, sharpening pencils, or having a drink of orange juice. I said, "No, the only thing I do before I start writing is to make sure that I'm close enough to the typewriter to reach the keys."
The thing for someone just starting off [in writing] is to write. You need to have limber fingers, whether you write with your fingers or you type on your laptop, but you need to have a limber mind and you need to be able to write without judging what you've written, at least right away, and without editing right away.
Hudibras has defined nonsense, as Cowley does wit, by negatives. Nonsense, he says, is that which is neither true nor false. These two great properties of nonsense, which are always essential to it, give it such a peculiar advantage over all other writings, that it is incapable of being either answered or contradicted.
Years ago, when my attempts at a writing career came to a complete stand-still, I applied to the Los Angeles Police Department. This might seem odd for a liberal woman who once went to UC Santa Cruz, but I've always had a powerful fascination with crime and serious interest in finding different ways to contend with it.
I'm glad that I didn't have the Internet when I started writing. I started writing when I was 20 and didn't show a word of it to anyone until I was 28. I had the sense to keep it to myself. Now the temptation with blogs and such, they're just getting it out there; maybe it would have been best to keep it to themselves.
With climate change, of course there are things to grieve. I certainly grieved that the vision that I had for my life, that I would be a clinical psychologist and write books and have a family, that that was not going to happen, because if the world is collapsing around you, it just doesn't seem that appealing anymore.
Sometimes I just start humming something, find a melody I like a lot, and if it sticks around for a couple days, a few words will lock themselves into place. I might just get the first line. Then words just keep falling into the syllables. The choruses kind of write themselves and verses I have to work at a little bit.
Conception of a film starts with the music. Always. I hear the movie before I can ever write it. I would say that 80% of the time, that's the successful stuff. It's the other stuff I have to work for to get right, and sometimes it doesn't work out, but the music is always the beginning. So I'm still a music journalist.
I've been trying to write for as long as I can remember. But those first fifteen years didn't produce much of great interest. I mean, it embarrasses me very much to look back on my early poems--very few lines of any merit at all and lots of affectation. But there were quite a lot of them. That's a point in one's favor.
[A businessmen in plane after 9\11] asked me, "What are you working on now?" And I said I was writing a story about a mouse who tries to save a princess. I was mortified. Here the world is falling down around us, and I'm trying to tell the story about a mouse who saves a princess. I said "It doesn't matter at all now."
Traditionally, people have been adapting novels and short stories forever. Now, they're doing it simultaneously, with an eye towards writing the movie before the novel has even come out or been finished. It's a function of this hyper-accelerated society we live in, where everyone is trying to short circuit the process.
Louis Brandeis really inspired me to write this book [Louis D. Brandeis: American Prophet]. It was a crazy deadline. The editor said I'd miss the hundredth anniversary unless I pumped the thing out in six months, because I'd been delaying and dilly dallying for so long. So he both inspired me to get up early and write.
To avoid a future of war, crime, and bankruptcy, the individual must begin to plan his own destiny, and the best source for the necessary information comes down to us through the writings of the ancients. The greatest knowledge of all time should be available ... in a book that would be a monument, not merely a coffin.
There is a terrific disadvantage in not having the abrasive quality of the press applied to you daily. Even though we never like it, and even though we wish they didn't write it, and even though we disapprove, there isn't any doubt that we could not do the job at all in a free society without a very, very active press.
I've not been a prolific poet, and it always seemed to me to be a bad idea to feel that you had to produce in order to get... credits. Production of a collection of poems every three years or every five years, or whatever, looks good, on paper. But it might not be good; it might be writing on a kind of automatic pilot.
I would love to meet J.K. Rowling and tell her how much I admire her writing and am amazed by her imagination. I read every 'Harry Potter' book as it came out and looked forward to each new one. I am rereading them now with my kids and enjoying them every bit as much. She made me look at jelly beans in a whole new way.
I think that we definitely deal with that issue and don't ignore it, the issue of drink, but that's not where it ends. I just think that what the fear is that you think alcoholic writer or whatever and you forget the intelligence that can be present. I mean so many people just write off someone who drinks as one thing.
I'm one of those people who go through the world giving other people thrills, but getting few myself except those I read into men on such nights as these. I have the social courage to go on the stage, but not the energy; I haven't the patience to write books; and I never met a man I'd marry. However, I'm only eighteen.
Humans aren't as good as we should be in our capacity to empathize with feelings and thoughts of others, be they humans or other animals on Earth. So maybe part of our formal education should be training in empathy. Imagine how different the world would be if, in fact, that were 'reading, writing, arithmetic, empathy.'
If I begin a poem, "I am a donkey," reason kicks in and says, "She is taking on the persona of a donkey." But if I write, "I have taken so many drugs I can't see my feet," the tendency is to take that as a confession on the part of the poet. Maybe that doesn't matter. I'd almost prefer for it to be the other way round.
I am called to listen to the sound of my own heart -- to write the story within myself that demands to be told at that particular point in my life. And if I do this faithfully, clothing that idea in the flesh of human experience and setting it in a true place, the sound from my heart will resound in the reader's heart.
I don't think there is a need of the categorization 'woman writing'. I think in some sense writers lost their gender when they walk into the world of words; I believe that writers ought to be able to slip under the skins of both men and women. Only then will the writing and the characters have credibility and strength.
Music saved my life. I mean, music is life. It is everything to me. It's why I can meet people - I was so shy as a kid, and when I started to write songs and perform them with my sister in front of the public, people started to talk to me, and that made me feel really good. Everything about it has always been positive.
I don't generate a storyline and then fill it out in the course of writing. The story actually generates in the course of the writing. It's one of the reasons I've never been comfortable doing screenplays, because in order to get the contract for the screenplay, you have to sit down and tell them what's going to happen.
It’s hard to pin down what makes Weiss’ music so distinctive. Perhaps it’s that even in the ballads, the tone is upbeat, the outlook positive. The way Weiss writes - passionately, wittily and with respect for his fellow musicians - attests to his talent and appetite for creativity, and suggests a long, enjoyable career.
I've just come back from Vegas, and I was in on the caucus process. It's insane. What a mess. And also with these particular candidates who are running, so many times I said, "I just wish Kurt Vonnegut were alive." This is like something he would be writing. This is just crazy stuff. I would love to hear his take on it.