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While in the middle of writing a book, I have a hard time reading other books for pleasure.
I don't think academic writing ever was wonderful. However, science used to be much less specialized.
There wasn't much technical terminology, and then, most academics are not trained in writing. And there is what is probably worse than ever before, the growing use of professional jargon.
Having been an actor and a writer for so long - 20 years or so - I felt that it would be daft to go to one's grave without having directed. It's a natural extension of writing and acting, and so I knew it would happen one day.
I remember, when I was writing 'Traffic,' talking to top federal drug-enforcement officials and having them say they read it and found it very good and believable, except the scene where the girl describes her resume.
Every time I lock my people in a spacecraft or land them on an asteroid, the blood wells up again, and I'm writing horror. Horror's my default setting. It's also where I prefer to write.
I think the writing of literature should give pleasure. What else should it be about? It is not nuclear physics. It actually has to give pleasure or it is worth nothing.
I actually enjoy writing longer books because you have even more to get your storytelling teeth into.
The essay is one of my favourite forms of writing, and I feel like what's inside is really personal, more so than with shorter pieces.
Overall, I adhere to the one guiding rule any author writing historical fiction should follow: whatever you describe has to be possible. It may not be common, obvious, or even all that probable, but it absolutely has to be possible.
I want a career writing these novels that I can be proud of. And then I want one as a screenwriter.
This means I must pay close attention to the writing, but equally so to the scientific background - which sometimes means doing fairly involved calculations.
But usually I'll wake up and start writing about nine o'clock. I'll probably write for about three hours, and I'll do that over the next month and a half.
My three years at the NIH were critical in my scientific education. I learned an immense amount about the research process: developing assays, purifying macromolecules, documenting a discovery by many approaches, and writing clear manuscripts describing what is known and what remains to be investigated.
Now the writing in the head, I definitely do every day, thinking about how I want to phrase something or how I'd like to rephrase something I've already written.
The desk thing is a problem for me. The ideal one would be vast and perfectly clear. Yet the bane of the biographical existence is paper; if you're 'an artist under oath' you're writing from a mountain of documentation.
I had to embrace just basically writing and recording on my laptop. On long drives through the Rockies, I would take my laptop and mess around with ideas and make rough sketches of songs.
No amount of money can replace the kind of happiness and satisfaction I derive out of writing.
You spend a lot of time studying, and you want to do something with that. Something that's tangible, like creating a show, writing a screenplay, making a difference.
To some extent, all authors are a little schizophrenic. We lead most of our lives in solitary confinement, living and breathing the books that we're writing.
Acting is contained - you act for three months, then leave it - but writing is the act of creation. Writing is dangerous.
I'm always working on a new album because I'm always writing, and I'm always in and out of my home studio.
Agatha Christie's writing is incredibly skillful because her books are incredibly intellectually puzzling and challenging.
What surprised me most while writing 'The Monogram Murders' was that everything I needed seemed to arrive in my head exactly when I needed it.
I don't understand why one should be one thing or the other. Writing, to me, is writing is writing. It should be a flexible tool. Whatever skills I have, have to work for me; I won't be dictated by them.
I was never interested in writing a 'Mommie Dearest,' getting even with Mia - none of that.
I loved to write; in my late teens I had a 'zine. But it wasn't until I went back to school, later on in my 20s, that I actually saw that I had writing talent.
The Pakistani writers are addressing change and what's happening today in the world. There is something completely contemporary in this writing.
My entire adult life has been devoted to family and career, each adding to the other in many rewarding ways. I have never felt that I had to set a pattern for my writing and teaching.
My writing did turn out to be quite intact, as it has all my experiences gathered at one place.
The summer after high school, I got a TASCAM because I had been writing a lot and thought it would be cool if I recorded stuff not just on my phone.
Although we are being presented in Carnegie Hall, we have to furnish a budget for our guest stars, and for the music writing - which is a huge budget in any orchestra that plays popular music.
I like writing different types of music. I don't like being stuck into one thing.
When I taught writing classes to psychiatric patients, I met people whose stories of manic highs and immobilizing lows appeared to be textbook descriptions of classic bipolar disorder. I met other patients who had been diagnosed with myriad disorders. No doctor seemed to agree about what they actually suffered from.
Fans always say they laughed and they cried while reading my books. And I tell them that I laughed and cried while writing them.
As a television producer, you do a lot of writing - drafting proposals for pilot shows and other things, so yes, a good deal of writing was involved.
'The Searcher,' as the title suggests, is about someone in search of something, and I have always loved quest stories and so was drawn to writing one myself.
'Sanctus' was done on speculation. I had no agent or publisher. I was being sensible, I suppose, by writing a standalone novel. I figured if that one didn't work, no one would be interested in reading a sequel.
The default mode of modern writing about art is to despise any notion of singularity as so much overheated genius-fetishism.
When I'm writing a first draft of a script, I can disappear into that for two, three months exclusively.
I write every first draft - almost every draft, but certainly the first - by hand on blank white pieces of paper, so I don't know how long it is as I'm writing; it just piles up, and then I input it all in my computer, and I learn how long it is.
When writing fiction, you only have to know enough to be convincing on the page. I mean really convincing, of course - but you don't need academic depth.
Only occasionally do I read new fiction. Most of my reading is heavily dictated by what I'm writing at the time.
I might be like a conductor, or I collect the stuff together and I do a lot of my own writing. But what is a pleasure is the whole creative thing in which we're all excavating and trying to find something.
I always felt that my way into comedy would be through my writing rather than my acting.
When I was a kid and wanted to grow up to be a writer, I assumed I would be writing about animals and children because that's what I cared about and read about. But I never did.
I remember when I started writing lyrics, I was very grand. I tried to use a lot of symbols,because I thought that's how songwriting should be - with imagery and metaphor. I figured, after a while, maybe I should just write it as I would say in real life.
Writing anything as an expert is really poisonous to the writing process, because you lose the quality of discovery.
There's a phrase in Shakespeare: he refers to it as the 'hidden imposthume', and this idea of a hidden swelling is seminal to cancer. But even in more contemporary writing it's called 'the big C'.
People call me for the ballads. Apparently that's where I've been pigeonholed. But it's really interesting and really fun. It's my favourite part of the job, writing.
Writing for television is completely different from movie scriptwriting. A movie is all about the director's vision, but television is a writer's medium.
The smartest thing I've done for my kids is writing a song about a holiday. Every year after that, even after I'm gone, they'll get a small check from the play it gets around the Fourth.
When you are writing something that is false and presenting it as a fact without confirming... I feel it's extremely wrong.
I very much dislike writing about myself or my work, and when pressed for autobiographical material can only give a bare chronological outline which contains no pertinent facts.
Clearly texting, SMS and chat are very different than writing a letter or email.
Email did precisely what I predicted, back in 1978, it took over the postal mail process and system of writing letters.
I love pens, especially when writing on good-quality paper. But I don't have a favorite - I try all kinds in all colors. Like most folks, I misplace them a lot, so I don't use anything too fancy.
My secret is simple. I have a very short attention span, and writing lots of things fast appeases that very attention span.
I don't write as much erotic romance as I used to, but I think that's just because my writing style has changed.
As a kid, I pretty much got nothing but scorn, and occasionally active animus, for writing fantasy and squirreling it away in my closet and, later, under the mattress supports in my bed.
The writing process for me is pretty much always the same - it's a solitary experience.
Part of my job at 'The Economist' was writing about HIV, and that included the grim task of reporting on the state of the global epidemic.
Sixty percent of all Indians live in urban areas, but nobody's writing about them. They're really an underrepresented population, and the ironic thing is very, very few of those we call Native American writers actually grew up on reservations, and yet most of their work is about reservations.
My career means, if you're a non-Indian writing about Indians, at least there's one Indian in your rearview mirror.
The form I most enjoy writing is the sonnet or sonnet-like forms, where you have a - you know, three stanzas or two stanzas that lead into a concluding couplet.
I thought I'd been condescended to as an Indian - that was nothing compared to the condescension for writing young adult literature.
I started writing lyrics out of desperation. I was broke and wondering where my next job, my next meal was coming from, although I had had several successful revue songs on Broadway.
I am in the Master of Professional Writing program teaching Humor Writing, Literary and Dramatic.
I don't think about the reader when I'm writing, but I do when I'm editing, of course. For instance, I self-consciously didn't want to do anything to increase the divide between mothers and nonmothers - I think that divide is so horrible and destructive and unnecessary.
Writing makes everything else in my life okay; it makes everything make sense.
I've written about women's lives, and I just want to write about them from being a woman. I don't need feminism on top of that when I'm writing.
I began the way nearly everybody I ever heard of - I began writing poetry. And I find that to be quite usual with writers, their trying their hand at poetry.
I used to write sonnets and various things, and moved from there into writing prose, which, incidentally, is a lot more interesting than poetry, including the rhythms of prose.
If you want to study writing, read Dickens. That's how to study writing, or Faulkner, or D.H. Lawrence, or John Keats. They can teach you everything you need to know about writing.
I'm not a go-out-with-a-band artist. I'm an intimate, storytelling folk artist. It guides the writing and makes for a concert that I'm proud of.
When I'm writing with John Leventhal, the music that he's written mostly comes first. And I'll write the lyrics and the melody.
My idea of what's good and bad and right and wrong is maybe greyer than most, and I like writing about that.
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