Writing Quotes
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I have no interest in writing, generally speaking, about America at all - even if it does continue to terrify me.
I was very anxious when I was writing 'Oscar And Lucinda.' I would take other books off the shelf to check my chapter length was OK.
I got out of college and I went to get my master's in creative writing at San Francisco State. I was working as an actor at the Actor's Workshop, being abused as a intern.
Since writing JAWS, I've been lucky enough to do close to forty television shows about wildlife in the oceans, and yes, I have been attacked by sea creatures once in a while.
There are so many characters whizzing around inside my head, it's like Looney Tunes. But as soon as I've finished writing about them, I completely forget who they are.
I'm writing another novel and I know what I'm going to do after, which may be something more like this again, maybe some strange mixture of fiction and non-fiction.
I have a certain sensibility that I bring to my writing that comes from knowing two things: what I as a reader like to read, and what as a writer I am capable of. I know my own limits. I know there are things I cannot do.
When I'm writing, I don't read much crime at all - you don't want to get distracted by other people's plots.
I have the same criteria for choosing roles as I have always had: fantastic writing and complicated characters.
I took my first creative writing class when I was 24, then went onto to get a graduate degree in poetry. I've sort of never looked back from there.
When I finally finished writing 'Sisters,' I started getting hired for lots of rewrites.
Idol has pretty much taken me out of my recording and out of my choreography. I have managed to slip in some choreography jobs. And I've been writing songs for other artists.
Tolkien was influenced by South Africa when he was writing 'Lord of the Rings.' It's really epic scenery.
When you're writing, it's a very solitary job. It's you and your word processor and a cup of tea.
I could write songs about politics, but I'm conscious of not writing songs that sound the same as the ones I wrote 30 years ago.
I'm very, very open to experimenting with different people and trying to find different methods of writing and making music.
When I started writing, I did have some idealised notion of my dad as a writer. But I have less and less of a literary rivalry with him as I've gone on. I certainly don't feel I need his approval, although maybe that's because I'm confident that I've got it.
People talk about the pain of writing, but very few people talk about the pleasure and satisfaction.
To me, writing is a considered act. It's something which is a great labor of thought and consideration.
My favorite film is 'The Empire Strikes Back.' My writing, and my personal taste in movies and books, tends toward works with a darker tone, and 'Empire' fits that the best of all the movies.
Modernist fiction is tied to problems of writers. Self-glorifying. Existential struggle. This has not been a big part of genre writing.
But with writers, there's nothing wrong with melancholy. It's an important color in writing.
I've been writing a lot, I've a few projects I'm trying to finance, I do some acting, I do some directing... Apart from that, if I could get lower that a ten handicap on my golf game I'd be thrilled.
I believe that, like most writers, my personality comes through in the fiction. So in that respect my writing can't be like any other author's really.
When we are in pre-production, this is the best job in the world. Working 10 to 7, sitting around and brainstorming with the other writers, making things funnier and writing and rewriting scenes - that's as fun as it gets.
I try not to think of actors as I'm writing because I think you do them a disservice by writing for things they've already done.
The silver lining of those years when I was trying to get 'Tinkers' published but couldn't were the years when I had to decide, Why do I want to be a writer? I realized that writing is the thing itself; writing is not a means to publication, writing is not a predicate of publication, so I spent years making art for art's sake.
There must be an alternative between Hollywood and New York, between those two places psychically as well as geographically. The University of Iowa tries to offer such a community, congenial to the young writer, with his uneasiness about writing as an honorable career, or with his excess of ego about calling himself a writer.
What could be more exciting when the writing is going well and things are falling into place? It's just like riding a fabulous wave for a surfer. There's no better place to be.
A large part of the appeal of this novel when I was lucky enough to stumble across the story idea for 'A Head Full of Ghosts' was that I'd finally be writing a horror novel. In a lot of ways, the book is both my criticism of and love letter to horror.
I usually dread writing non-fiction. I don't feel comfortable or confident writing essays and the like.
If what needs to get done is going to get done, then I can't screw around with the luxury of writing rituals or waiting for pristine writing conditions to magically materialize.
When it comes to actually writing the book/story, I work on a computer. I wish I could write longhand, but I can't.
My first book deal was for two Mark Genevich novels. I hadn't planned on writing a second Genevich novel, but I was contracted to do so, and so there I was being introduced as a crime writer.
The ambivalence of writing is such that it can be considered both an act and an interpretive process that follows after an act with which it cannot coincide. As such, it both affirms and denies its own nature.
I suspect that authors who start their careers writing for an adult audience - and who eventually produce a young adult novel or two - are more common than authors who begin by writing for young adults and who then gravitate toward composing something for an adult audience.
The way I was educated, maybe from just inhaling something in the air back then, I grew up believing that E. B. White occupied the apex of essay writing.
One of the things I've learned from animation is that some guys are really good at writing, some guys are really good at design, some guys are really good at directing. It's almost like working in a band - not everybody plays every instrument.
One of my favorite things I read was John Steinbeck's journals while he was writing 'East of Eden,' which was so cool.
Morality is often seen as an innovation, like agriculture and writing. From this perspective, babies are pint-sized psychopaths, self-interested beings who need to be taught moral notions such as the wrongness of harming another person.
I like writing code. I like building product. I like making things that people like.
When I'm writing, I generally toy with an idea until it manifests itself - meaning a phrase or a tune comes into my head and eventually begins to jell. When something hits me, I write it down immediately. I don't wait, or it's gone.
All through my writing life, I've had this impulse to write autobiographical works.
For writing, I get up early in the morning - 5 o'clock, 4:30. I'm a morning person... So I try to do it while people are asleep. The mornings are the nicest.
I like writing a body of music that has a cohesive, emotional thread through it.
I dreamed of having a book of my own, of writing one that I could put on a shelf.
I never felt oppressed because of my gender. When I'm writing a poem or drawing, I'm not a female; I'm an artist.
I've hung out in the writer's room a few times, but the fact is we've got such a good writing staff, I don't want to get my peanut butter fingerprints on anything.
Often I have to move my body in a certain way, like exercising, to begin to get into the right rhythm for writing a song.
I don't actually have to think very hard when I'm writing. I mean, there are times where it's a task, and you have to plug away and plug away. But then there are times when a song writes itself in 15 minutes, and you're just struggling to keep up with it.
One thing I liked about 'Silver Bell' is that I barely knew how to play in the tuning I was writing in, and I just went for it anyway.
Probably induced by the asthma, I started reading and writing early on, my literary efforts from the age of about nine running chiefly to poetry and plays.
I developed the habit of writing novels behind a closed door, or at my uncle's, on the dining table.
I continued writing the bad plays which fortunately nobody would produce, just as no one did me the unkindness of publishing my early novels.
Whenever I have tried to write for other people, that's when my writing has failed, when nobody wanted to read it or buy it. But it's only when I've been able to write a story that makes me excited, only then have other people wanted to read it.
In the country places of Ireland, writing is held in certain awe: a writer was a dangerous man from whom they instinctively recoiled.
I come by writing dialogue fairly naturally, I've got a chatty family; I'm a bit of a voyeur, and if I'm ever in a public place, I automatically find myself listening.
One of the nice things about writing is you can take essentially painful things in your life and turn them into something that might be useful, or at least entertaining, to somebody else.
Humorous writing is often thought of as substandard in comparison to work with a more dramatic or tragic intent. I don't know what to say to this except that I disagree wholeheartedly.
I've always felt so fortunate to have writing to turn to every day. I'm obsessed with it.
I came from a family of incredible storytellers, but I didn't start writing children's books until I was 41 years old.
Everything in my life affects my writing. There are no separate parts of my life.
Revision is the heart of writing. Every page I do is done over seven or eight times.
I want to see children curled up with books, finding an awareness of themselves as they discover other people's thoughts. I want them to make the connection that books are people's stories, that writing is talking on paper, and I want them to write their own stories. I'd like my books to provide that connection for them.
I have no special talent, you know. I never took a writing course before I began to write.
I'm a visual thinker, thrill seeker, and I'm easily distracted. I see everything I'm writing, and I think it naturally affects the pace of things.
If people have bought something of mine, they know by now that I will decline writing it for the movies.
But when I was a little kid, I was always writing stories and illustrating little books that I would create.
Even when I am writing I usually take a break around lunchtime and go for a little walk to clear out my head.
When talking about writing, I often use the analogy of archaeology. There are these great tunes all around. Your skill as a musician allows you to pick them out without breaking them.
I write wherever I am. It helps that the writing process, for me, is a lone-wolf mission.
When writing about historical characters I try to be as accurate as possible, and in particular not to misrepresent the view they held. With a real historical figure you have to be fair, and this is not an obligation you have in dealing with your own creations, so it is quite different.
When I'm writing the first draft, I'm writing in a very slovenly way: anything to get the outline of the story on paper.
I'm literally am home making my own music unless I'm asked to be in somebody's house writing music for them.
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