Writing Quotes
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We decided we didn't want to do a musical for TV because the idea of writing a musical that would be seen on television once seems insane.
I didn't really know what I was doing when I started. I just started writing songs. After two songs I just continued to explore it.
I try not to be overly literal. When I'm writing songs, I write down a lot of words, and then I try to simplify it. I like to give people hints or words that make visual pictures for them.
Writing a play, you have to retain it all in your head - you need more time. With prose, you can snatch an hour here, an hour there.
Writing for TV made way more sense than writing for magazines. And by sense, I mean money.
I fantasize about the networks making a rule that each show's writing staff needs to reflect the gender and racial makeup of its audience.
There have been 700 or 800 songs I've written over the last 60 years, as I went through different periods of writing. I listen and marvel at how different they are and how they still stand up. They are very well done, if I must say so.
Howie Greenfield and I started writing music when I was 13 and he was 16. We lived in the same building.
Because, if one is writing novels today, concentrating on the beauty of the prose is right up there with concentrating on your semi-colons, for wasted effort.
I loved writing a book in which, in some ways, it's very, very classical, and in some ways I'm breaking lots of rules about what you can do and what you can't do.
I started out writing much more science fictiony stuff and writing about science fiction.
I've been blogging since February of 2001. When I started blogging, it was a dinosaur blog. It was me and a handful of tyrannosaurs. We'd be writing blog entries like, 'The tyrannosaurus is getting grumpy.'
I love stories - devising them, writing them, reading them, watching them, being a part of them.
There's a mystery to writing, and you don't really know where most of it comes from.
The simile has to match the tone of its surroundings and has to be like a little joke. Writing a simile that isn't funny on some level is quite hard.
I had just begun an M.A. in Creative Writing, and I had to write a novel, so I began writing a novel that later became 'A Life Apart.'
For me, the writing process is the same as the reading process. I want to know what happens next.
It wasn't until I had been writing on and off for maybe ten years that I started to establish any kind of routine, thought I couldn't put a finger on an exact date, and this routine relates simply to the aphorism 'How do you eat an elephant? One bite at a time.'
I sing because I love singing. I perform because I love performing. I write because I actually enjoy writing.
It is not easy to get parts in mainstream films for most people of color. Hollywood and British writers are not writing parts for us, or the directors are not interested in casting us in parts that are color-blind.
Philanthropy is not about giving money but about solving problems. While well-meaning, the idea of writing a check and calling it 'philanthropy' is extremely short-sighted and unfortunately, extremely pervasive.
The only sensible ends of literature are, first, the pleasurable toil of writing; second, the gratification of one's family and friends; and lastly, the solid cash.
Writing can't be too calculated. My best writing is when I set it aside, move on. It's not when I'm crafting a sentence, thinking about what word should follow another.
A lot of times when I'm writing lyrics, I just think about insecurities that I might have and turn them into a scene. Some things may be true, and some things may not.
The act of writing is a kind of catharsis, a liberation, but I never really concerned myself with that. I write because it interests me.
Women have seen that they have locked themselves up with feminist writing.
There's no safety in anything, but in the arts, there is really this idea of no promises. I didn't follow the writing dream for safety.
'Castle' is a guy living in a fantasy world. He's in his imagination, writing these stories of murder.
I can't remove the autobiographical slant from the things I write. You always bring yourself into what you're writing.
Some of the best writing I've done, whether I'm shooting a story or thinking of a script, I write it in my head as I'm running. Running literally jogs my brain.
I'm really into the 'classic' thing - the craft of writing something that will last, that won't die by next year.
I don't really focus on if what I'm writing is pop or not. I just write music and then I try to figure out how to arrange the things that I write.
My husband wrote the story for my first book, but then he didn't want to do that anymore. So if I was going to go on being an illustrator, I had to start writing the stories, too.
The first two books that I did by myself were long stories in verse. I knew I could do that because I'd written a lot in verse. But, verse stories are hard to sell, so my editor encouraged me to try writing in prose.
Writing is sacred, other activities are profane, and I don't want them to corrupt my writing.
I had been writing songs for other people for a while, and I made a demo and I put it on my Myspace, which Perez Hilton found and blogged about on his site.
I had many doubts while writing my autobiography. I wasn't sure if anyone would be interested to read about my life.
I really looked up to Tina Fey as a writer, and because I did have a background in writing, she is someone whose career I really did admire.
There is a triple layer of jargon when writing about climate change. You have the scientists, who are very cautious now because of the amount of climate denial. Then you have the U.N. jargon - I had to carry around a glossary of terms. It was like an alphabet soup.
I do seem to have a lot of family secrets in my novels. I guess I'm one of those writers who is often writing about the same sort of themes, but taking different angles on them.
I started writing 'The Lord of Opium' in 2008 and produced about 80 pages before disaster struck. Three eye operations nearly put an end to my career.
I'm constantly coming up with new strategies for getting to the mental place where writing is so joyous and playful that I almost can't help putting the words down.
The point of writing my name to you is that I see who you are, you see who I am... and that's what it's about.
I've been writing in some way, shape, or form for as long as I can remember.
I didn't make any money from my writing until much later. I published about 80 stories for nothing. I spent on literature.
Writing is making sense of life. You work your whole life and perhaps you've made sense of one small area.
I'm writing songs to perform, to entertain. And when I'm really trying to get inspired, I go backwards, and I just rap.
Readers seem to really like the fact that what I'm writing is not traditional fantasy.
It takes practice to do anything unique within this field, period, in writing, practice doing anything unique in writing.
Writing is not a matter of choice. Writers have to write. It is somehow in their temperament, in the blood, in tradition.
It's not like I'm writing full songs or full parts and setting it aside for Slash because, generally, I like him to make the first move and hear where he's coming from and what his concepts are, and then I build from there.
In our period, they say there is free speech. They say there is no penalty for poets, There is no penalty for writing poems. They say this. This is the penalty.
Foreign journalists writing about Turkey like to focus on the most fundamental divide in Turkish society: the rift between religious conservatives and secularists.
I came up in left-wing political writing. My first job out of college was working as Gore Vidal's fact checker.
You can forgive if the shot is not right, or the lighting is a bit off, but not if the writing is bad.
If you're writing a novel, you're in a room for three or four years. There's not much coming in from the outside.
Fundamentally, all writing is about the same thing; it's about dying, about the brief flicker of time we have here, and the frustration that it creates.
I started writing - just generally - when I was 10, there, and started writing songs when I was maybe 11 turning 12.
I think when people hear about a celebrity writing a book of any kind, the assumption is that it was dictated to a ghostwriter.
Kids are naturally inventive and curious and creative, but most adults have had that beaten out of them. Writing is a form of play; you have to get rid of all those internal censors that we adults have, the things that say, 'Don't go there, that's not allowed.'
Writing a story is pretty all-consuming for me - it feels a lot like method acting, and for the eight or twelve or fifteen months that I'm working on a story, I'm constantly thinking about how my narrator would react to whatever tangled situation I'm in.
When we were making the law, when we were writing the literature and the mathematics the grandfarthers of Blair and little Bush were scratching around in caves.
After Silk Route disbanded I came on my own, and through the years, I have sung a few film songs while writing songs for my album.
I had a very high-grade publisher tell me I was incapable of writing a memoir.
In writing fiction, I can be free. I can use my life. The raw material is my experiences.
I just happen to be from the generation that, like a lot of my older friends, started out writing letters.
I have four shelves covered with journals that I've written. Dad and I are writing songs together. I've probably written 100 songs.
I started as a writer; I started writing when I was little. The acting and directing was an outgrowth of my desire to tell stories.
My writing is progressing slowly, but at least it's moving forward. I'm sure that's the case. The only problem is that I'm never absolutely certain that what I've written is any good.
Seventy percent of what I write, I throw out. I can write very easily, but writing original things is the hard bit.
When you're writing these things, you're in a room making each other laugh, you really have very little sense of political correctness or incorrectness. This is a question that Europe tends to ask and America doesn't.
Soundgarden are kind of the masters of writing songs that aren't pop cliches.
Who I love reading is Jordan Mechner, who wrote 'Prince of Persia.' He put all his journals while he was writing 'Prince of Persia' online.
Midnight Mass' is kind of my baby; I've been working on that for six years. I started writing it while 'Oculus' was in preproduction, and it's a very personal, scary little story.
I do really enjoy Jay McInerney's wine writing. He's a good writer. He brings his fiction-writing skillset. He's not afraid to put wine in kind of a racy context and speak very candidly about it.
When I got to university, I would read plays and go, 'But these are about the past. Where are the plays that I love about now?' I couldn't find them, so I started writing.
I studied in New York. I fell in love with an Australian-born, half-Filipina girl. So we moved to Australia when she went to her university and I moved with her. We moved to Montreal because she was going to take her year abroad, and I wanted to see if I could keep on writing there. It's really hard to make it as a writer in the Philippines.
The software patent problem is not limited to Mono. Software patents affect everyone writing software today.
One danger, when you're writing lots of quick, opinionated blog items about the latest developments, is that you never get around to stating fully, in one place, what you think about a particular topic.
Oh yeah, I was one of the first guys writing comic books, I wrote Captain America, with guys like Stan Lee, who became famous later on with Marvel Comics.
Writing and telling jokes is my favorite thing to do, and I want to be able to do that forever.
Indeed, 'The Second Plane' is such a weak, risible, and often objectionable volume that the reader finishes it convinced that Mr. Amis should stick to writing fiction and literary criticism, as he's thoroughly discredited himself with these essays as any sort of political or social commentator.
In general, when I'm writing, I concentrate on the story itself, and I leave it to other people, such as agents and publishers, to work out who it's for.
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