Daphne Gottlieb Quotes
Quotes to Explore
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All autobiography is storytelling; all writing is autobiography.
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Writing 'William Shakespeare's Star Wars' was a fun exercise in mixing just the right amount of the Bard with just the right amount of everyone's favorite galaxy far, far away.
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I didn't live at school, I lived where I could and studied what I enjoyed studying. I took what I wanted from that education but was making my first record at the same time. I don't know anyone from school. I was just leading a different life. I was really interested in writing and other things.
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With sitcom writing, you're trying to write stories.
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When you're writing a book, you don't really think about it critically. You don't want to know too well what you're doing. First, you write the book, then you find the justification for it.
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I think you have to learn for yourself how to write. I'm slightly mystified by creative writing courses - God love them - because I can't understand how you can explain a process that I find so baffling.
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I don't talk about Amy Winehouse as a 'singer.' She's a pioneer. I listened to her endlessly when I started writing.
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When you start writing about the stuff that is the central experience of your own life, you can talk about whatever you want, in whatever way you want.
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Writing is my way of expressing - and thereby eliminating - all the various ways we can be wrong-headed.
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When I was writing 'The Windup Girl' and 'Ship Breaker,' I was writing those simultaneously, so I was an unpublished writer, not really having that full sense that these books would go out in the world, that they would be successful, that there would be an audience and that there would be fans of those stories.
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Writing for the theater, you find yourself living a nocturnal life.
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My highest point was the first thing I won, a short story competition in a women's magazine in the Eighties. It was the first time I'd had my writing validated, and the first thing I'd ever shown anyone else.
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I've been writing for a long time. I sat down to write my first novel in the middle of March of 1982.
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Writing about a person whose struggle you wish you could solve is an act of compassion and also, frankly, opportunism.
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I'm quite adept at writing two or sometimes even three stories at once. So if I get stuck on one story, I switch the next and let my subconscious work on unraveling any plot problems from another story.
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I studied philosophy, religious studies, and English. My training was writing four full-length novels and hiring an editor to tear them apart. I had enough money to do that, and then rewriting and rewriting and rewriting.
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As a storyteller, when you're writing a movie and when you're directing, you want to keep people entertained. That's the whole point, right? It has to be entertaining.
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I had casually rented an apartment that cost $75 a month because I expected my writing to pay my way.
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I mean, the wonderful thing about writing a book is that you're getting a finished product at the end of the day. You're communicating directly with the reader.
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The ordinary-sized stuff which is our lives, the things people write poetry about—clouds—daffodils—waterfalls—what happens in a cup of coffee when the cream goes in—these things are full of mystery, as mysterious to us as the heavens were to the Greeks.
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Sequels are hard.
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There is no harm in anybody thinking that Christ is in bread. The harm is in the expectation of His presence in gunpowder.
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And now, dear sister, I must leave this house or the retreating army will make me a prisoner in it by filling up the road I am directed to take.
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That's point of writing: building what you need, right?
