Kris Kristofferson Quotes
I've never really felt comfortable co-writing. I usually go at my own speed, you know.
Quotes to Explore
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The story was such that I couldn't make a graceful ending and then make a graceful new beginning. I could have, but I didn't want to. So, it isn't the most graceful way of writing a story. This new story is, I think, is pretty good stuff. I'm pleased with it anyway.
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I've got plenty of quirks. I go to an office early in the morning. Early in the morning is really good writing time. I take anywhere between six to eight showers a day. I'm not exaggerating. I'm not a germaphobe: it's all about a fresh start.
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I taught English and history, so my education for that really helped prepare me for writing historical fiction.
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I don't have any office; I can write everywhere. So, I put a piece of paper on the table, and then I travel. Literally, writing for me is like travelling. It's getting out of myself and living another life - maybe a better life.
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Sometimes things in life take a few years to digest, and they find their way into the work later on. Sometimes I'm writing about things from eight years ago-they just took a long time to distill and come out in the appropriate way.
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I started submitting stories for publication when I was about 15, but it was many years before I sold anything. I don't make my living writing science fiction, so in that sense, I'm still not a pro.
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Revision is the heart of writing. Every page I do is done over seven or eight times.
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It's a hard thing to imagine how somebody copes with grief and at the same time has to build a new life.
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Then about 1951 I began writing again, painfully, a novel I called in the beginning A Life Sentence on Earth, but which developed into The Tree of Man.
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One of the pleasantest things about book writing is that sometimes it brings one in touch with old friends.
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Write every day; never give up; it's supposed to be difficult; try to find some pleasure and reward in the act of writing, because you can't look for praise from editors, readers, or critics. In other words, tips that are much easier to give than to take.
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I love writing. Given a choice, after directing for all these years, and if given an army of talented directors, I would not direct at all.
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I don't have specific music for when I'm writing. I'm usually listening to the same playlist or 'artist' before I arrive at the computer as when I'm walking somewhere after leaving the computer.
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I've been writing fiction probably since I was about 6 years old, so it's something that is second nature to me now. I just sit down and start writing. I don't sit down and start writing and it comes out perfectly - it's a process.
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When you're writing, you are robbed of your delivery.
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'Float On' was a fine song, but I was still writing the lyrics on the last day we were working on it and deciding if it was something we wanted to put on the record.
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I wrote small stories here and there, then bigger ones. Some were even written for money. I signed up for a writing class and snuck my first assignment on a yellow legal pad in a partner's office while he read through my memo.
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If it is indeed impossible - or at least very difficult - to inhabit the consciousness of an animal, then in writing about animals there is a temptation to project upon them feelings and thoughts that may belong only to our own human mind and heart.
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If you can whistle the melody, then the song will stick. But if you need a bunch of machines to make it sound good, you're probably not writing anything that's going to last a long time.
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Here we are at the very core of the thesis we wish to defend in the present essay: reverie is under the sign of the anima. When the reverie is truly profound, the being who comes to dream within us is our anima. For a philosopher who takes his inspiration from phenomenology, a reverie on reverie is very exactly a phenomenology of the anima, and it is by coordinating reveries on reverie that he hopes to constitute a "Poetics of reverie". In other words, the poetics of reverie is a poetics of the anima.
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In American films, Russians are often portrayed like cartoon villains without clear motivations.
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Can't you see, we are in a dialogue with the universe?
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I've never really felt comfortable co-writing. I usually go at my own speed, you know.
