Quotes of All Topics . Occasions . Authors
Before I started working on a computer, writing a piece would be like making something up every day, taking the material and never quite knowing where you were going to go next with the material. With a computer it was less like painting and more like sculpture, where you start with a block of something and then start shaping it.
When I was younger I was much more polemical and didactic, much less trusting. Inherently my own vision of the world would weave its way through the characters. Also, my concerns are changing. What happens is you write a few plays and get boxed into some idea of what your concerns are and what you're supposed to be writing about.
In high school, in 1956, at the age of sixteen, we were not taught "creative writing." We were taught literature and grammar. So no one ever told me I couldn't write both prose and poetry, and I started out writing all the things I still write: poetry, prose fiction - which took me longer to get published - and non-fiction prose.
When I am writing poetry, I try to make my mind go a little lazy, to not think too much, as a way of opening up the part of the brain that makes poems. If I'm successful in this part of the process I'm often not. If my mind gets too lazy it will linger in familiar boring territory, it's like my mind can stroke the physical world.
I don't know if make a conscious effort to vary the characters and subjects that I write about, but I do find myself keeping track of ideas that come along, as probably most writers do, and whatever seems most interesting to me when I flip through my notes before I begin a new story is usually what I will try to write about next.
Science fiction [is] the kind of writing that prepares us for the necessary mutations brought about in society from an ever changing technological world and as a result. The mainstream hasn’t excluded SF; the mainstream has excluded itself. No one told Jules Verne he was a science fiction writer, but he invented the 20th century.
I am interested in people, and I am interested enough in people that I want to be friends with a lot of people and know about their lives. So I'm not a hermit. I'm also interested in writing about other things. It goes on and on. I sometimes wish that I had a different personality. But then I would write different types of books.
I'd say art is with you. All around you. I'd say when there doesn't seem to be anyone else, there is art. I'd say you can love art how you wish to be loved. And I'd say art is a lifeline to the rest of us - we are out here. You are not alone. There is nothing about you that scares us. There is nothing unlovable about you, either.
We hear from sex workers who have through their own volition become media figures, or have despite their own wishes become media figures. Like Ashley Dupré, who has a sex advice column in the New York Post. You get outed and then people expect you to write a memoir because they think, what else are you going to do with your life?
It's part of a writer's profession, as it's part of a spy's profession, to prey on the community to which he's attached, to take away information - often in secret - and to translate that into intelligence for his masters, whether it's his readership or his spy masters. And I think that both professions are perhaps rather lonely.
All poets pretend to write for immortality, but the whole tribe have no objection to present pay, and present praise. Lord Burleigh is not the only statesman who has thought one hundred pounds too much for a song, though sung by Spenser; although Oliver Goldsmith is the only poet who ever considered himself to have been overpaid.
The focus of my playing is the groove, and every time I find a new rhythm, I find I can write a bunch of new songs. Learning how to dance, or drum, or to swing my body in a new way is the fundamental way I find a new riff. Because when you learn to swing your body in a new way, you begin to swing with your instrument differently.
One of the things that's good for me is that I can go from one art form to another. Because I think if I had to write another novel now I would really not be good in my head anymore. It's too much. The frustration is so intense of knowing that this structure is right around the corner. Writing is a particular kind of frustration.
When I was collecting material for a political gossip column, and someone said something interesting, I would wait for them to add, "and I don't want to read that in your magazine!" In which case I wouldn't use it. But if they didn't remember to say it, I'd nip off to the loo, write the story up, come back and change the subject.
When I went to Czechoslovakia under the old Communist regime one day in the '80s, I thought to myself whatever I do, whatever happens to me in Prague I'm not going to use the name Kafka, I'm just not going to do it. I won't do it; it's so easy, everyone else does, I'm not going to. I'll write the first non-Kafka mentioning piece.
If you make a film, that magic is not there, because you were there while shooting it. After writing a film and shooting it and being in the editing room every day, you can never see it clearly. I think other people's perception of your film is more valid than your own, because they have that ability to see it for the first time.
The following [addition to the Bill of Rights] would have pleased me: The people shall not be deprived or abridged of their right to speak, to write, or otherwise to publish anything but false facts affecting injuriously the life, liberty or reputation of others, or affecting the peace of the [United States] with foreign nations.
I didn't write about my mother much in the third year after she died. I was still trying to get my argument straight: When her friends or our relatives wondered why I was still so hard on her, I could really lay out the case for what it had been like to be raised by someone who had loathed herself, her husband, even her own name.
He that writes may be considered as a kind of general challenger, whom every one has a right to attack; since he quits the common rank of life, steps forward beyond the lists, and offers his merit to the public judgement. To commence author is to claim praise, and no man can justly aspire to honour, but at the hazard of disgrace.
Once upon a time a Georgian printed a couple of books that attracted notice, but immediately it turned out that he was little more than an amanuensis for the local blacks--that his works were really the products, not of white Georgia, but of black Georgia. Writing afterward as a white man, he swiftly subsided into the fifth rank.
[Non-performing songwriters] climb the mountain the first time, take their successes in stride, and when they tumble down the mountain, they just consider the tumble part of their profession and don't even waste time mourning their slump. They continue to write, make new connections, and move forward toward a new round of success.
I have come from France more firmly convinced than ever that Negros should write Negro music. We have our own racial feeling and if we try to copy whites we will make bad copies…We won France by playing music which was ours and not a pale imitation of others, and if we are to develop in America we must develop along our own lines.
If you're going to make work and you're going to write and you're going to put yourself out there and perform, you will be belittled, you will be insulted, you will be called a standard collection of names, you will be accused, and you just have to stand there and continue to work and find a way to not let those things poison you.
My own view, and I've said this many times, is as long as I can do the work full steam, I will stay on the Court. But when I feel myself slipping, when I slow down in my ability to write opinions with fair dispatch, when I forget the names of cases that I once could recite at the drop of a hat, I will know it is time for me to go.
I enjoy the optimism of design, even though we can see it as doomed. But I'm telling most people that I'm not writing about design any more this year. It makes no sense at all during the recession unless you write about sustainable or ethical design-very basic things, like how to get clean water in countries with a shortage of it.
Those people are seen, I assume, by Larry [Kramer] as writing partly about gay issues and problems, whether it's on the surface or not, and I am not. But another thing is when we met, there still wasn't exactly a gay/straight divide in the minds of a lot of straight people. There weren't any gay people, as far as we knew, at Yale.
In this twenty-first century, there's no one like Sharona Muir who can write, in bright accurate language, animals real or imaginary in an updated bestiary that riffs on evolution, extinction, and what it means to be human among other species. We need this view, and you'll be right there with her on every page of Invisible Beasts.
Loving your subject, you will write about it with the spontaneity and enthusiasm that will transmit itself to your reader. Loving your reader, you will respect him and want to please him. You will not write down to him. You will take infinite pains with your work. You will write well. And if you write well, you will get published.
You can't argue with someone who believes, or just passionately suspects, that the poet's function is not to write what he must write but, rather, to write what he would write if his life depended on his taking responsibility for writing what he must in a style designed to shut out as few of his old librarians as humanly possible.
If you go through any newspaper or magazine and look for active, kicking verbs in the sentences, you will realize that this lack of well used verbs is the main trouble with modern English writing. Almost all nonfiction nowadays is written in a sort of pale, colorless sauce of passives and infinitives, motionless and flat as paper.
I love Dexter. I love Top Chef. I can't wait for it to come back. I love Friday Night Lights. I think TV is in a great place right now. It's definitely getting better and better. I think there is some of the most complete writing for women and female characters, they're done in television production and not really film production.
I think that we're all, as human beings, so limited. If we want to write about ourselves, that's fairly easy. And if we write about our friends or our families, we can do that. But if we want to project ourselves somewhere beyond our personal experience we're going to fail unless we get that experience or we borrow it from others.
Is there a secret? Yes. Anaïs Nin and Pauline Réage and Anne Rampling and Erica Jong all knew it. E. L. James knows it. It is the secret behind all of our writing. And our reading. Arousal starts in the mind. And grows in the mind. The brain is the most erogenous zone in a woman’s body. That is our secret. And it is what we share.
I would like to be known for honest, relatable writing and stories that that are real. There's just this shift I think is happening in a lot of society right now where being your most real self, however embarrassing or vulnerable or weird that is, is the coolest. I feel like that's what Lena Dunham's about and Amy Schumer's about.
[Kenneth Koch] taught children in public schools in New York City to write poems and told them down worry about rhyming, don't worry about any of that stuff. You know, write a poem where you mention three colors and make it five lines - or he would just give them, you know, little strategies. And, man, they wrote some great poems.
I wonder if I don't give too much of myself to writing: I am always half where I am; the other half is feeding the furnace, kick-starting the heat of creativity. I am making love with someone but at the same time I'm noticing how this graceful hand across my belly might just fit in with the memory of lilacs in Albuquerque in 1974.
I have tried to write soundtracks, and the main problem with those was that the directors often had in their minds a much stronger sense of what they wanted to hear, than what I was willing to give them, and I guess there was no way to say, "Well why don't you write your scene around my music?" Because that's just cocky and awful.
Anyone who writes down to children is simply wasting his time. You have to write up, not down. Children are demanding. They are the most attentive, curious, eager, observant, sensitive, quick, and generally congenial readers on earth.... Children are game for anything. I throw them hard words and they backhand them across the net.
Most people use twenty verbs to describe everything from a run in their stocking to the explosion of an atomic bomb. You know the ones: Was, did, had, made, went, looked... One-size-fits-all looks like crap on anyone. Sew yourself a custom made suit. Pick a better verb. Challenge all those verbs to really lift some weight for you.
There's an old adage in writing: 'Don't tell, but show.' Writing is not psychology. We do not talk 'about' feelings. Instead the writer feels and through her words awakens those feelings in the reader. The writer takes the reader's hand and guides him through the valley of sorrow and joy without ever having to mention those words.
Writing and producing the show is an intellectual process. Performing the show is far more athletic and intuitive, because you don't get to do it twice. It helps if you've done whatever the old saw is, 10,000 hours of it. Because I've done 10,000 hours of comedy, I have this database in my mind of what works and what doesn't work.
When I'm writing it's as if I'm the observer. It's as if that computer screen there -it used to be the typewriter - just kind of dissolves and there's this whirling tunnel of mist and there's a kind of proscenium arch, and then there are my characters, and they say what they say, and I laugh sometimes in surprise at what they say.
When I first started making music, I didn't really know what I was doing. I just wanted to write songs. I didn't have a concept. I didn't think it through. I was just flailing around doing what comes naturally. It took me a really long time to step back and deal with what I was doing with any kind of perspective or self-awareness.
I hope when people ask what you're going to do with your English degree and/or creative writing degree you'll say: Continue my bookish examination of the contradictions and complexities of human motivation and desire; or maybe just: Carry it with me, as I do everything that matters. And then smile very serenely until they say, Oh.
The more closely the author thinks of why he wrote, the more he comes to regard his imagination as a kind of self-generating cement which glued his facts together, and his emotions as a kind of dark and obscure designer of those facts. Reluctantly, he comes to the conclusion that to account for his book is to account for his life.
When I am directing, it is much, much, much, much, much different. I'm a much more practical person in the world, I show up on time, I am very rigorous about scheduling, and I am very focused. But when I'm writing I am just a big, irresponsible mess and I'm just impossible to get in touch with, and I don't spend time with friends.
I'm not superstitious in my normal daily life but I get that way about writing, even though I know it's all bullshit. But I began that way and so, that's the way it is. My ritual is I never use a typewriter or computer. I just write it all by hand. It's a ceremony. I go to a stationary store and buy a notebook and then fill it up.
I know the struggle from the inside out and I would never be so bold as to call myself a writer. I think that is what other people call you. But I consider myself a member of a community in Salt Lake City, in Utah, in the American West, in this country. And writing is what I do. That is the tool out of which I can express my love.
I do think people need to recognize that a lot of journalists want to write a story a certain way because the story will be better or the portrayal will be better, or at least recognize that whenever you're looking at something, you're seeing it through somebody's eyes who may actually not be the person who is the most insightful.
In stand up every joke is thought about so meticulously, and one word can completely change how the audience responds. You're up there with no safety net; you can't shirk responsibility. It's your thoughts; it's your voice. You can't blame it on the writing, you can't blame it on the editor. You are just up there completely naked.