Quotes of All Topics . Occasions . Authors
As I've picked up more responsibilities in life, I've found nearly every one of those extra burdens drains me in a way that makes writing more difficult. That may not be the case for everyone - I know plenty of writers and artists who seem to have energy in abundance for all the facets of life; but are they producing anything worthwhile?
I would rather not write if I'm depressed, or am going through a breakup, or I've had some disappointment, or I'm having a family issue. You don't want to just put out an open wound. Sometimes that just isn't even really good writing. Good writing should be good writing and storytelling and not just therapy or someone's personal journal.
Maybe in the back of my mind I was kind of wishing that I would become a rock star, kind of wishing that I would reach enough people who would be willing to pay me for the music, that I would actually be able to live off of just writing the songs that I wanted to write. But I don't think I really admitted to myself that that was my goal.
I also liked it when professors assigned us stories that they love. In general, I liked workshops more when they were more than just a workshop, when the professor took the time to actually guide us as young writers and teach us things it took them a long time to figure out on their own. I could probably write ten pages on this question.
I think you can write very good comedy without a partner, but what I love about it, working with a partner, is that you get to places you'd never get on your own. It's like when God was designing the world and decided we couldn't have children without a partner; it was a way of mixing up the genes so you'd get a more interesting product.
The Chinese traditionally have revered age and longevity - I have one and hope for the other! - so, in Taipei, a city-hub for global Chinese who dis-identify with the People's Republic of China's construction of a Communist nationalist Chineseness, I called on the Chinese muse of writing to witness my emergence out of the academic woods.
One of the advantages of being an older woman in films,is that you don't care as much about so many things. There are women in history throughout the world that need to be portrayed. Women don't stop being interesting at 20, they get more interesting and more fascinating and people are going to have to write about them. We're undeniable.
I think Stephen Crane too becomes trapped in a myth that poetry should be operating at a certain level, that there's the real world and the reflection of that real world. I don't exist in any of these historical periods. I exist in the period in which I'm writing the book. So I only attempt to frame this in a way that I myself relate to.
My sole inspiration is a telephone call from a director. ... (when asked who wrote 'Some Enchanted Evening') Rodgers and Hammerstein, if you can imagine it taking two men to write one song. ... Good authors, too, who once knew better words now use only four-letter words writing prose. ... Brush up your Shakespeare and they'll all kowtow.
I am writing a play which I probably will not finish until the end of November. I am writing it with considerable pleasure, though I sin frightfully against the conventions of the stage. It is a comedy with three female parts, six male, four acts, a landscape (view of the lake), lots of talk on literature, little action and tons of love.
When I started writing short stories, I thought I was writing a novel. I had like 60 or 70 pages. And what I realized was that I don't write inner monologue. I don't want to talk about what somebody is thinking or feeling. I wanted to try to show it in an interesting way. And so what I realized was that I was really writing a screenplay.
My secret for writing is going back to clarity. I'm very clear about what I want to accomplish-the goal-and then the next two are focus and concentration. And I've probably spent my whole life both practicing those two and teaching them. Focus. Focus on a single point and concentration. And concentrating on a single thing till it's done.
To sum it all up, if you want to write, if you want to create, you must be the most sublime fool that God ever turned out and sent rambling. You must write every single day of your life. You must write dreadful dumb books and glorious books, and let them wrestle in beautiful fights inside your head, vulgar one moment, brilliant the next.
I've felt pressure to produce long fiction for as long as I've been writing fiction. There's just an incredible bias in the publishing industry toward novels and away from short stories. They're seen as D.O.A. in the marketplace, which seems nuts to me, given that various collections done smashingly and deservedly well in economic terms.
Words! Mere words! How terrible they were! How clear, and vivid, and cruel! One could not escape from them. And yet what a subtle magic there was in them! They seemed to be able to give a plastic form to formless things, and to have a music of their own as sweet as that of viol or of lute. Mere words! Was there anything so real as words?
On past records I usually did start with a story or an idea for a song and then write around it, but on Achilles' Heel I would just start writing and try to let the song and my sub-conscience determine the direction. which is a goofy way of saying I tried not to decide before hand what the song and or the characters would do and be like.
I've struggled seriously to make movies with very little money, that I write, that I direct, that mean my life to me. The idea that I would offer a part to anyone for any other reason than that he or she was gonna be the best of anyone I could find is so disgusting to me. I don't give my best friends parts unless they deserve them. Ever.
In my later years, I have looked in the mirror each day and found a happy person staring back. Occasionally I wonder why I can be so happy. The answer is that every day of my life I've worked only for myself and for the joy that comes from writing and creating. The image in my mirror is not optimistic, but the result of optimal behavior.
The characters created cannot just be a mouthpiece for the writer. When you look at a piece of writing, and it's genuine and it doesn't feel like every character is just a mouthpiece for the writer, but that they've been created in such a way that they're expressing an idea that a writer wants to get across, that's when a story succeeds.
There's lots of bands where somebody will write lyrics and somebody else will sing them. It works for a lot of people, but that feels weird to me. I don't mean this in a bad way at all but it just feels fake.. I guess in my heart of hearts, whether the person has a good voice or not I want [the songs] to come from them. I don't know why.
And the thing about me is, I have a lot of mellow songs, because they're the easiest for me to write. I wanted to try to make some more upbeat songs, so, I ended up gravitating toward writing songs with friends, which was a great learning process, and also we came up with great songs. Those are the songs that came out the most naturally.
One of the illusions of life is that the present hour is not the critical decisive hour. Write it on your heart that every day is the best day of the year. He only is right who owns the day, and no one owns the day who allows it to be invaded by worry, fret and anxiety. Finish every day, and be done with it. You have done what you could.
I have been writing my heart out all my life, but only getting a living out of it now.... ... it's not a question of the merit of art, but a question of spontaneity and sincerity and joy I say. I would like everybody in the world to tell his full life confession and tell it his own way and then we'd have something to read in our old age.
Not working in journalism enables full attention to writing projects, which is good. But I miss the benefits of daily contact with people who are younger, energetic, engaged. And the necessary involvement with people and places and situations that enrich the imagination. I miss the enforced encounters with unusual projections of reality.
I love performing, it's my favourite thing to do. I think the music comes across even stronger live. I started performing first, before I started writing or being in the studio. I just love the energy that we can share together, for just one hour or however long it is. We all come together from all walks of life. I know it sounds cheesy.
The thing about humour is that the super-ego is also at play, so what interested me, particularly in the last chapter which is key to the book -and no one seems to have picked this up in writings on Freud - is that, in the later Freud, the essence of humour is the ability to look at myself and find myself ridiculous. That makes me laugh.
Words too familiar, or too remote, defeat the purpose of a poet. From those sounds which we hear on small or on coarse occasions, we do not easily receive strong impressions, or delightful images; and words to which we are nearly strangers, whenever they occur, draw that attention on themselves which they should transmit to other things.
I'm totally into Taylor Swift. I think she has super-clever lyrics, and I love that she writes her own music. Some of the themes she writes about are stuff I wish was there for me when I was in high school, and I'm so happy she really cares about her female fans. She's not catering to a male audience and is writing music for other girls.
Think about that: at a time when it was inconceivable to have a woman rabbi or a woman scholar of Christian theology or canon law, the Islamic civilization boasted hundreds of women who were authorities in Islamic law and Islamic theology and that taught some of the most famous male jurists and left behind a remarkable corpus of writings.
I chose to write about food: food is inherently political, but it's also an essential part of people's real lives. It's where the public and private spheres connect. I wanted to show readers that the larger politics of war and economics and U.S. foreign policy are inextricably bound to the supposedly trivial details of our everyday lives.
Even fake news tries to convince us of its reality, but it does so mostly by appealing to your preconceived notions, your shared biases, or your prejudice. How to do the opposite? To create a sense of the real and then challenge your biases. I think that is my favourite aspect of writing, and that is what I've tried to do in 'The Lovers.'
So I wanted to write a play that put some thoughts and feelings in the air about the miracle and the mystery and that alluded to deep and unknown forces. But then really just have people going to the store and fixing the sink and going through the normal things of looking for love and getting up in the morning. Because that's how we live.
Even my colleagues don't read classic criticism. And my feeling is that if you don't do that then you're not really practicing your craft. That's how you learn how to do it. You don't learn how to write about jazz just from listening to jazz. You learn how to write by reading the great writers and how they worked, the great music critics.
Gustave Flaubert said, "Emma Bovary, c'est moi." It is not possible to write something you are not, but to have a new form, with a different hair color and a new body ... I do very little of that. That's why I keep bringing up the same people. I haven't given myself a hard time about it. But I can't make six new characters instead of one.
The secret to writing is writing. Lots of people I know talk about writing. They will tell me about the book they are going to write, or are thinking about writing, or may write some day in the future. And I know they will never do it. If someone is serious about writing, then they will sit down every day and put some words down on paper.
Writing is like listening to a melody line in my head. Note by note, it knows where it wants to go. I follow it and lay it down. I can pare it, shape it, and polish it later...My job is to take down the dribs and drabs - to free-associate, if you will, knowing that the associations have their own plans for where we're going with all this.
We would not - from here - counsel anyone to be guided by influences from without. ... If these come as in inspirational writings from within, and not as guidance from others - that is different ... the inspirational may develop the soul of the individual, while the automatic may rarely reach beyond the force that is guiding or directing.
I used to write my own versions of famous tales, such as William Tell or Robin Hood, and illustrate them myself, too. When I entered my teens, I got more into horror and science fiction and wrote a lot of short stories. A literary education complicated things and for many years I wrote nothing but poetry. Then I got back to story-telling.
I like 'pencil-necked weasel'. It has 'pencil' in it. Pencils are good things. You can draw or write things with pencils. I think it's what you call someone when you're worried that using a long word like 'intellectual' may have too many syllables. It's not something that people who have serious, important things to say call other people.
Such is the art of writing as Dreiser understands it and practices it--an endless piling up of minutiae, an almost ferocious tracking down of ions, electrons and molecules, an unshakable determination to tell it all. One is amazed by the mole-like diligence of the man, and no less by his exasperating disregard for the ease of his readers.
I often call Daptone the Motown and Stax of today. But in some ways it's different. At Motown, a lot of the musicians didn't get recognized, music got stolen, and people didn't get paid. Or the label would just throw them a pinch of money for their songs. That is one thing we're not doing. Anything anyone writes here, we get a percentage.
Being smart in the arts is the same as being smart in engineering is the same as being smart in writing is the same as being smart in anything, really. It's the ability to manipulate all the pieces of the puzzle in your mind, try to fit them together, and when they don't fit quite right... you sand the edges/corners and make them all fit.
Wallace Stevens had more time to write as an insurance agent. He was a bond lawyer and I know that insurance company lawyers don't have to do nearly as much as we had to do. We were out more in the production area. I'm not condemning Stevens for having had a better job than I did, but that's one of the many places where I differ from him.
The truth is, the way you write music, it's a code. It has to be very precise. It's scientific, but ultimately it also depends on interpretation. It's very similar to how you grow a master plan: it's an objective document, but at the same time it is a lyrical document which allows through interpretation to become a harmonious work of art.
Few of those who fill the world with books, have any pretensions to the hope either of pleasing or instructing. They have often no other task than to lay two books before them, out of which they compile a third, without any new material of their own, and with very little application of judgment to those which former authors have supplied.
I do not believe that it is necessarily the duty of the writer to give a voice to his community. If a writer is true to his vocation, to his or her vocation, the very process of creativity enlarges these human horizons. It provides insights, even when you're not writing, when your writing's not dealing with a concrete political situation.
When I was a kid, the punishment I disliked the most was writing sentences. My mother loved to make me record my transgressions--always a minimum of five hundred times--and she even bought special spiral notebooks for me to fill up.... No matter how many notebooks I went through, there was always another one waiting in the kitchen drawer.
If I were to offer any advice to young writers, it would be this: be discriminating and be discerning about the work you set for yourself. That done, be the untutored traveler, the eager reader, the enthusiastic listener. Put what you learn together carefully, and then write thoughtfully, with respect both for the reader and your sources.
The fact is that I write under duress, often in my bed, often at the last minute. I'm kind of a binge writer I would say, which I don't support. I was always kind of that way. Probably the time I was the most regular as a writer was college. It was like, what else is there to do when you're living in the Midwest studying creative writing?
The FBI wants Apple to write software code to help it break into the iPhone. Apple doesn't want to say this. Andrew Crocker, an attorney with the Electronic Frontier Foundation, or EFF, a digital civil rights group, says the government can't make you say what you don't believe. He looks to a Supreme Court case that began in New Hampshire.