Quotes of All Topics . Occasions . Authors
My wife, Amanda, is terribly good at warping reality. She is like a bowling ball on a rubber sheet, and you find yourself living in her universe, doing things that are completely unexpected or unimaginable for you, but you blink and you're up on a stage singing, or wearing a peculiar wig, or writing a book filled with feelings and emotion, or doing something equally as unlikely.
I mean, what's thematic? How to put it? Going back to, like, 1980, when I started writing poetry. Language itself became an issue. I'd even think about font as an aspect of text, you know, how something looks on a page. A lot of this is the product of a very solitary existence, it's like, language, I mean, you know. A lot of time spent alone in the creation of all of this stuff.
Some of this book—perhaps too much—has been about how I learned to do it. Much of it has been about how you can do it better. The rest of it—and perhaps the best of it—is a permission slip: you can, you should, and if you're brave enough to start, you will. Writing is magic, as much the water of life as any other creative art. The water is free. So drink. Drink and be filled up.
Over the years I've had strong friendships with many priests. As a matter of fact, a group of Christian leaders from the National Council of Churches came to my house in the 1950s to ask me to write music for a Mass. I didn't think I was ready at that time. So, in a sense, I guess joining the church and writing the Mass was a culmination of a long journey that is still going on.
Luckily, I remembered something Malcolm Cowley had taught us at Stanford - perhaps the most important lesson a writing class (not a writer, understand, but a class) can ever learn. 'Be gentle with one another's efforts,' he often admonished us. 'Be kind and considerate with your criticism. Always remember that it's just as hard to write a bad book as it is to write a good book.'
On of the reasons that I wanted to study literature was because it exposed everything. Writers looked for secrets that had never been mined. Every writer has to invent their own magical language, in order to describe the indescribable. They might seem to be writing in French, English, or Spanish, but really they were writing in the language of butterflies, crows, and hanged men.
An uncomfortable feeling is not an enemy. It's a gift that says, "Get honest; inquire." We reach out for alcohol, or television, or credit cards, so we can focus out there and not have to look at the feeling. And that's as it should be, because in our innocence we haven't known how. So now what we can do is reach out for a paper and a pencil, write thought down, and investigate.
I don't think about the reader in any conscious way that impacts the writing, as far as, Hey, most readers would like this! But at the same time, if it were presented to me: "John, you're going to write a novel. It's going to take you a few years. When you're done with it, there's a law that no one's allowed to read it." I don't think I would write it. I want someone to read it!
Writing for me is an ongoing practice of facing and countering fears. And so, in that sense, I have always been responding to phobias. I am often most surprised by the writing that comes from facing fears that strike closest to home, poems that explore internalized phobias about gender identity, sexuality, and the body, poems that struggle with a question like do I deserve love?
If the world allows the people of Darfur to be removed forever from their land and their way of life, then genocide will happen elsewhere because it will be seen as something that works. It must not be allowed to work. The people of Darfur need to go home now. I write this for them, and for that day, ... and for those still living who might yet have beautiful lives on the earth.
Every genuinely literary style, from the high authorial voice to Foster Wallace and his footnotes-within-footnotes, requires the reader to see the world from somewhere in particular, or from many places. So every novelist's literary style is nothing less than an ethical strategy - it's always an attempt to get the reader to care about people who are not the same as he or she is.
You go out into the world, you read everything you can read, you imitate the things you love, and you learn how hard it is to do. Eventually, you learn your own vision of the world, you learn your own voice and how to hear it, and you learn to write your own work. Writers today have as many opportunities as my generation did, but they don't see the examples as clearly as we did.
When I am writing a novel, though, then it's usually three or four hours a day. Ideally, right after lunch until three or four, but sometimes picking up again around ten, going until a touch after midnight. I rarely write in the morning, unless I'm on deadline. I do like rewriting in the morning, though. Guess it's the way my brain's put together. Or, the way it's falling apart.
One of my friends who writes novels says that once the book is published, it's a separate thing from you; it becomes its own. I feel that way when I read - and that applies to the experience of reading my work in public, too. The essays are a barrier between me and the audience, and it feels like a disappearing act. Poof! I'm gone, and the woman I've created on the page emerges.
Not going back is fine. Not going back but occasionally visiting might be best. Not going back but remembering so you don’t see the same view twice. Not going back so you can turn a new page, write a new chapter, develop an entire new list. Not going back so you can stretch and grow and see yourself in a light that you never knew existed. Not going back so that you can fly. Fly.
In the final exam in the Chaucer course we were asked why he used certain verbal devices, certain adjectives, why he had certain characters behave in certain ways. And I wrote, 'I don't think Chaucer had any idea why he did any of these things. That isn't the way people write.' I believe this as strongly now as I did then. Most of what is best in writing isn't done deliberately.
Everyone's [ me, Iain Cook and Martin Doherty] equally involved in all the writing. Normally we'll start with a sample or a drumbeat, or a synth sound or something like that, and that will spark the initial idea. And then we'll write an instrumental sketch of a song, and then we put on a nonsense vocal melody, which is always my favourite bit because it obviously sounds amazing.
Something I always tell students is, when you're writing something, you want to write the first draft and you want it to come out easily in the beginning. If you're afraid to say what you really have to say, you stammer. [...] You're judging yourself, you know, thinking about your listener. You're not thinking about what you're saying. And that same thing happens when you write.
I think, when I'm writing, I have a more clinical view than I do when I'm reading. I like pretending to be God and basically determining the fate of my characters. But as a reader, I'm a sucker. I'm very sentimental. I get upset when people that I like die. And yet I have killed off characters in my books quite heartlessly, and sometimes found that readers were very upset by it.
Additionally, Liesl and Po is the embodiment of what writing has always been for me at its purest and most basic--not a paycheck, certainly; not an idea, even; and not an escape. Actually, it is the opposite of an escape; it is a way back in, a way to enter and make sense of a world that occasionally seems harsh and terrible and mystifying. (From the "Author's Note" at the end).
You could say I'd rewritten the same novel three times and I thought I had to move on. The success of the book, and then the movie, had by then also created a commercial expectation and I remember touring America and seeing people in the audiences who I thought might not want to read the books I wanted to write next. My constituency had become broader, but more mysterious to me.
All nonfiction writers, whether they like it or not, are translators. The translator is the perfect journalist. The best journalism endeavors to convey an essential idea or story to an audience that knows very little about it, and that requires translation. To do this successfully, the writer must filter the idea through the prism of his eye, and his mind, and his writing style.
Structure that really pays off is all based on emotion. I don't write down an elaborate plan. It's really done by feel. It's one area of my writing that I think I've got surer at as I've evolved. In my work you often get an abrupt shift in time, a jolt. But the emotional logic will take the reader on. I hope. I trust. After all, our memories do not work with any sequential logic.
I'm not one of these people who is sour about academia. I'm very lucky not to be in academia, but I am an absolute parasite. While I was writing my book on comparative philosophy I was drawing on some fantastic scholars - university based people. The academy is absolutely necessary, but there should also be a role for those bringing it together. It's such a frustration sometimes.
Vanity is so anchored in the heart of man that a soldier, a soldier's servant, a cook, a porter brags and wishes to have his admirers. Even philosophers wish for them. Those who write against vanity want to have the glory of having written well; and those who read it desire the glory of having read it. I who write this have perhaps this desire, and perhaps those who will read it.
It was like they waited to tell each other things that had never been told before. What she had to say was terrible and afraid. But what he would tell her was so true that it would make everything all right. Maybe it was a thing that could not be spoken with words or writing. Maybe he would have to let her understand this in a different way. That was the feeling she had with him.
There's a thing I really mind hearing, when someone says: "That's not my kind of film, I don't want to go and see that..." I don't believe that, I don't believe that it's possible to write off a whole genre of filmmaking - "oh I don't like subtitled films", or "I don't like black and white films", or I don't like films made before or after, a certain date" - I don't believe that.
What I'm thinking about are the millions of people, many of whom write me very personal letters :"Dear Mr. President: I did not vote for you. I was against Obamacare. And then my son who didn't have health insurance signed up and we just found out that he had an illness. And thankfully he's now covered, otherwise he might not have gotten treatment and I might have lost my house."
My books happen. They tend to blast in from nowhere, seize me by the throat, and howl 'Write me! Write me now!' But they rarely stand still long enough for me to see what and who they are, before they hurtle away again. And so I spend a lot of time running after them, like a thrown rider after an escaped horse, saying 'Wait for me! Wait for me!' and waving my notebook in the air.
Anytime you adapt work of somebody who you respect, as much as I respect him, it's an enormous responsibility. In honoring that responsibility, what we try to do is to continually use his work, and the writing that he did about his life and his work, as our guide. That starts with his intent for what he was trying to express when he wrote it, and it extends to his intent overall.
I write about heroes all the time, and I'm struck by how much of what fills us with wonder in the man-made world was the brainchild of a monster. I mean, slaves built most of the ancient wonders, our city skylines are dominated by the product of sometimes very ruthless capitalist ideals. There's a horrifying thought that I often wonder, which is, are monsters sometimes necessary?
Johnny Cash's face belongs on Mount Rushmore...I don't write as much as I did back when I was writing songs every day. I've come to know when I've got a good one, although sometimes it takes the world awhile to catch up with me...If you're in it because you love it and you have to do it, that's the right reason. If you're in it because you want to get rich or famous, don't do it.
The main question to a novel is -- did it amuse? were you surprised at dinner coming so soon? did you mistake eleven for ten? were you too late to dress? and did you sit up beyond the usual hour? If a novel produces these effects, it is good; if it does not -- story, language, love, scandal itself cannot save it. It is only meant to please; and it must do that or it does nothing.
Anthropological fieldwork is so much like writing a novel. Granted, you don't have the physical disruption and disorientation, but writing a novel is like entering a new culture. You don't know what the hell is going on. And every day you feel like you have nothing, you're going nowhere. Or you feel that first it's going somewhere, but then you get into that horrible middle part.
I really don't know what exactly all the songs mean. Sometimes other people have meanings and when I hear them I think, 'That's really a better meaning than I thought, and perfectly valid, given the words that exist.' So part of what makes a song really good is that people take in different meanings, and they apply them, and they might be more powerful than the ones I'm thinking.
You can ask yourself, if a film makes a claim, is the claim true or false? Having said that, a style of presenting material doesn't guarantee truth. There's this crazy idea that somehow you pick a style, and by virtue of picking the style, you've provided something that is more truthful. It's as if you imagine that changing the font on a sentence you write makes it more truthful.
Life is painful sometimes. It touches everyone, so you may as well try to look for other answers and find peace. So, it is difficult to write those types of things because nobody wants to tell sad stories. I think that I'll always tell stories about human hope. I would love to be able to tell somebody, "It's okay. It's all right. Be a good person." That's what my job is, in life.
The best literature is always a take [in the musical sense]; there is an implicit risk in its execution, a margin of danger that is the pleasure of the flight, of the love, carrying with it a tangible loss but also a total engagement that, on another level, lends the theater its unparalleled imperfection faced with the perfection of film. I don’t want to write anything but takes.
When ambition enters, creativity disappears - because an ambitious man cannot be creative, because an ambitious man cannot love any activity for its own sake. While he is painting he is looking ahead; he is thinking, 'When am I going to get a Nobel Prize?' When he is writing a novel, he is looking ahead. He is always in the future - and a creative person is always in the present.
The best advice on writing was given to me by my first editor, Michael Korda, of Simon and Schuster, while writing my first book. 'Finish your first draft and then we'll talk,' he said. It took me a long time to realize how good the advice was. Even if you write it wrong, write and finish your first draft. Only then, when you have a flawed whole, do you know what you have to fix.
It's called "Pickman's Mephitic Models," based on the story [Pickman's Model by H. P. Lovecraft].Certain things about it many people don't realize. Pickman was a real painter who lived between 1888 and 1926. Now, there's a question mark [gesturing toward the writing in the margins of the painting], because Lovecraft claims that he turned into a ghoul. God knows how old he is now.
When you write for a living and you can't do anything else, you know that sooner or later that the deadline is going to come screaming down on you like a goddamn banshee. There's no avoiding it...So one day you just don't appear at the El Adobe bar anymore; you shut the door, paint the windows black, rent an electric typewriter and become the monster you always were - the writer.
Sometimes when I get up after writing, I'm surprised at how my body feels. Suddenly I'm not a lanky, hungry young boy any more. It's no fun putting on ten years and fifty pounds all of a sudden. Other times, I get up and I'm pleasantly surprised that I'm not a weary innkeeper, hopeless, with bones that feel like they're made of lead. I really sink into the characters that I write.
Water, like religion and ideology, has the power to move millions of people. Since the very birth of human civilization, people have moved to settle close to it. People move when there is too little of it. People move when there is too much of it. People journey down it. People write, sing and dance about it. People fight over it. And all people, everywhere and every day, need it.
But maybe the Charm Bracelets understood more about life than I did. From an early age they knew what little value the world placed in books, and so didn't waste their time with them. Whereas I, even now, persist in believing that these black marks on white paper bear the greatest significance, that if I keep writing, I might be able to catch the rainbow of consciousness in a jar.
Words, English words, are full of echoes, of memories, of associations. They have been out and about, on people's lips, in their houses, in the streets, in the fields, for so many centuries. And that is one of the chief difficulties in writing them today -- that they are stored with other meanings, with other memories, and they have contracted so many famous marriages in the past.
I'm not an advocate of true rhymes, I don't think. I think that everyone who writes musical theater needs to know how to do true rhymes, because that's the tradition of it, but I do think that in order for the art form to grow, it's important to not let tradition get in the way of innovation. There's all kinds of reasons not to use true rhyme in a lyric, like with off-color humor.
I had been working my first record really hard and toured the heck out of it. I didn't have anything to write about so touring with The Decemberists was what I needed. I could work and take in the world again. You're just the side man and don't need all the info. You're also less busy than when your name is on the ticket, so I had days free to read, watch movies, and just look up.
This time I particularly loved because it came from a real experience with my grandchildren. Having them alone alone for the first time for six or seven days and going "Wow, this is exhausting," because when you're not around little ones for a long time, you forget about how much work that is. So I came in and started writing the story that became this movie ['PARENTAL GUIDANCE'].
In eleven or twelve years of writing, Mike, I can lay claim to at least this: I have never written beneath myself. I have never written anything that I didn't want my name attached to. I have probed deeper in some scripts and I've been more successful in some than others. But all of them that have been on, you know, I'll take my lick. They're mine and that's the way I wanted them.