Tori Kelly Quotes
Quotes to Explore
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	When I was around eight, I learned how to touch-type at school, and I received a computer as a present. I started writing plays, and for many years I thought I would be a playwright.   
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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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	Writing a tribe is fun. They have their own language, their own slang; they repeat it, and it becomes part of the texture of the play. For a writer, that's thrilling. That's when my pen flies.   
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	I've had those people very interested in my writing. Since I think of myself as a composer, I feel really good. I've had lots of guys call me up. I've gotten two or three commissions to write things. I've written lots of movie scores.   
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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 can be collaborative, for instance, in situations where I go and study the artist's work before I start writing. Then I can at least try to write towards their style.   
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	I love writing two narratives! I think concurrent storylines are my favorite way to write a book.   
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	The most difficult and complicated part of the writing process is the beginning.   
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	I was writing at a really young age, but it took me a long time to be brave enough to become a published writer, or to try to become a published writer. It's a very public way to fail. And I was kind of scared, so I started out as a ghost writer, and I wrote for other series, like Disney 'Aladdin' and 'Sweet Valley' and books like that.   
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	The nice thing about writing at home is that it's almost as though I'm doing it already. I get out of bed thinking of my work, and I don't have to go anywhere to do it.   
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	Nobody's going to write a book about me, because nobody's going to find anything worth writing a book about.   
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	But in the meantime I became accustomed to the writing life and it would be hard to change now - partly because of the salary cut if I went to my other love, teaching; and partly because I still have stories to tell, even though it isn't all that fun doing the work anymore.   
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	On a very personal level, I have fond memories of spending a lot of time in the Library of Congress working on my collection of poems 'Native Guard.' I was there over a summer doing research in the archives and then writing in the reading room at the Jefferson building.   
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	I am writing something which I find satisfying and which I am prepared to put my name to as a composer.   
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	The problem with too beautiful a view is that it's alright for the mulling stage. But for the writing stage, you want to be somewhere without a view, especially if it is very different from what you're writing.   
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	You get so caught up in what you're writing - action sequences tend to do that more than anything else because you're living it, and feeling for your characters.   
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	When I began writing in the mid-1960s, I thought it was not important for readers to know whether I was male or female. Also, I was a great admirer of E.B. White, so I may have thought that it would bring me luck to submit my first manuscript as 'E.L.' But if I were starting out today, I would use my first name.   
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	I had a novel in the back of my mind when I won an Ian St James story competition in 1993. At the award ceremony an agent asked me if I was writing a novel. I showed her four or five chapters of what would become 'Behind the Scenes at the Museum' and to my surprise she auctioned them off.   
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	When I started writing it was kind of hard getting people to do my stuff. They' say they couldn't do my style.   
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	I want to create a foundation, like a maison, in my home in the Marais. I am going to leave everything there. I am only passing through. I'm not a proprietor of anything, even if I have homes and things.   
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	The Carells are huge fans of comedy. To get in there and see how sick and twisted their mind is is fun to do.   
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	I don't think I make dance music. It's not even 4/4. And it's slow.   
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	You can tell everything from the eyes.   
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	Songwriting never gets old. There's always stuff to write about.   
 
					 
					 
					 
					 
					 
					 
					 
					 
					 
					 
					 
					 
					 
					 
					 
					 
					 
					 
					 
					 
					 
					 
					