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I do Twitter, but I'm still not great on it - I'm not good at writing short little jokes, so my Twitter's not really a jokey thing.
The script for 'Thirteen' is tight, and not because of the now-famous six day writing spree, but more because it started out as 15 pages longer.
I've always been ambidextrous, writing short stories and novels, and I pretty much have been writing a novel and a handful of short stories every year since '91.
I really only have been seriously writing, finishing things and publishing things since January '91.
In writing biography, fact and fiction shouldn't be mixed. And if they are, the fictional points should be printed in red ink, the facts printed in black ink.
Even if I'm writing music, it's with a lyric in mind, to communicate some kind of feeling.
I've always kept writing. There's never been a moment where I went through a spell where I just don't write.
I began writing fictional stories and little screenplays when I was in fifth grade.
Writing, for me, is an inherent part of understanding the material on a deeper level.
I do enjoy the form of things. I enjoy finding the form that seems best to fit what I'm thinking about. I don't set out to find a bizarre way of writing.
When you have good writing, the rhythm of the scene is very apparent. What the scene demands is very clear.
What's interesting to me is how many vampire/urban fantasy authors are writing young adult series as well, often set in the same world as their adult books, but focused on a younger audience.
All writing and publishing is very difficult, regardless of genre. There are going to be obstacles no matter what.
I didn't learn much about writing at Sarah Lawrence, but I learned a lot about the sources of poems - dreams, myth, history - from the really great teachers, Joseph Campbell, Charles Trinkhaus, Bert Loewenberg, and a young Australian anthropologist named Harry Hawthorne.
I had a writing professor at Brandeis who told me I'd never make it - and when I sold my first novel a few years later, I sent him a copy!
It wasn't until I started to read short stories - by people like Alice Munro, Mavis Gallant, John Updike... Eudora Welty - that I became excited about the possibilities of writing.
I love writing and do not know why it is considered such a difficult, agonizing profession.
Poets deal in writing about feelings and trying to find the language and images for intense feelings.
I see the shape of the poem before I start writing, and the writing is just the process of arriving at the shape.
Read. Read. Read. Read many genres. Read good writing. Read bad writing and figure out the difference. Learn the craft of writing.
For me, the most important thing is the writing - and certainly the director. But if the writing isn't there, it doesn't matter who the director is!
My preference is for really good writing, and I just really don't care where it is.
You can fake a lot of stuff, but you can't fake if the story isn't there and if the writing isn't good.
Writing requires the concentration of the writer, demands that nothing else be done except that.
My work as a screenwriter has influenced my fiction. Writing screenplays forces you to consider many elements regarding story structure and other narrative devices that can be used to enhance the infinitely more complex demands of a novel.
I'm a voracious reader, and I like to explore all sorts of writing without prejudice and without paying any attention to labels, conventions or silly critical fads.
I've always looked upon the Ducks as caricature human beings. Perhaps I've been years writing in that middle world that J.R.R. Tolkien describes, and never knew it.
Everybody's idea of a great book is different, of course. For me it's one that makes my jaw drop on every page, the writing is so original.
I guess I went into journalism to save the world. I always felt through writing that I wanted to rotate the world slightly.
I taught English and history, so my education for that really helped prepare me for writing historical fiction.
I visited England immediately after I finished writing 'The Marrying Season,' before any editing or revisions.
If uncovering the truth is the greatest challenge of nonfiction writing, it is also the greatest reward.
I don't feel the need to prove myself by writing the next generational novel.
What interests me is what you might call vernacular writing, writing that connects you to a place.
I worked as an actor for many years. Then I segued to some non-fiction writing.
I genuinely miss writing now on the rare days I don't write; my mouth waters when I think about writing, and I have an extreme physical reaction to the idea of doing it.
We're the only branch of government that explains itself in writing every time it makes a decision.
My father read poetry to me, encouraged me to memorize poems. But the writing of it was quite a different thing.
There is no other way of writing a novel than to begin at the beginning at to continue to the end.
Music is my work, writing songs is my work, touring is my work, going into the studio is my work.
Part of what I enjoy about writing classical music is communicating through the score and collaborating with such amazing musicians.
I studied classical guitar in school, and that type of stuff has led to writing for Kronos.
When I'm writing instrumental music, I try to find musical and non-musical inspirations.
I want to start recording and writing as soon as I can and get music that I love out as soon as possible.
But when I started writing songs, I stopped painting completely, and the only art things I do are connected to the career, like album sleeves and, to some extent, posters and things like that.
It was such a paradox for me that the only thing I know how to do is act, but that the first thing I abandoned while writing were the characters.
I really wish I knew what I was doing because I'd be writing hit songs every minute.
A songwriter writes songs all the time, whereas just writing a song can be done by anyone, anytime.
I was so naive about writing, I went to the public library and checked out the only volume they had on the topic - an academic treatise about publishing from the WWII era.
One question hovers over all of us who choose to spend our lives writing: why keep doing this in a world where so many forces are aligned against us?
The second half of the '60s really was a kind of learning period, in terms of writing, for me.
The first time I learned how to play, my guitar was out of tune. I didn't know it; I just started writing songs.
Well, everything surprises me about the writing process because illustrating comes much more naturally to me than writing does.
I studied arranging and orchestration a number of years ago, so I have a home studio and arrange about three-fourths of my songs on the computer. Since writing orchestration is tedious, I often put an arrangement on the keyboard and let someone better-qualified finish it.
I'm very excited to work with everybody on 'The Bridge' - the cast, the writing staff, the executive producers - the show is really good. I'm very lucky to be a part of it.
I'll know when the ideas aren't fresh anymore. And I'll know when writing doesn't give me a thrill anymore.
I'll always write music. Whether I release a record, whether I let the public hear it or not, I'm always writing music.
In writing I found something I could do at least as well as my peers, if not better.
I think 'Cool Hand Luke' was probably the first movie in which I was aware of the writing as its own separate thing. It was that speech when the guy reads Paul Newman the riot act. The speech about going in the box.
All writing is the same: It's just making up lies until it starts to sound like the truth. That's what I do.
My lyrics are generated by various peculiar processes. Very random and similar to automatic writing.
When Tupac came out, my writing changed for sure. I learned from it. It was a cultural thing.
I know now why I stopped writing short stories. It was at the point when I recognised how difficult they were.
With my trumpet voice, I love gritty, plunger, growly sounds. But vocally, I love Anita O'Day - a raspier but definitely softer sound. Part of the fun has been finding vehicles or writing for both of those sounds.
Believe it or not, but 'White Heat' and 'Little Caesar' keep dancing around in my brainpan while I'm writing 'Moonshine.'
When I was writing about Gotham in 'Broken City,' I was writing about Chicago. I just substituted the names.
My office-hour reading is fairly ad hoc: I generally read whatever seems relevant to what I'm editing, writing, or thinking about writing.
I had something to prove and went in the studio and started writing. I got into fitness and style and learned the whole craft. That was when I wrote everything on the album. I put out 'Don't Ya,' and it took off.
Writing a novel is not method acting and I find it easy to step out of it at cocktail hour.
Even if I knew for certain that I would never have anything published again, and would never make another cent from it, I would still keep on writing.
If the songs I'm writing can offer anything to somebody, I'd like to give myself the opportunity to deliver that.
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