Bill Peet Quotes
I always begin my stories as experiments - on large yellow tablets - a mixture of writing and sketching.
Quotes to Explore
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The beauty of 'The Hunger Games' and also 'Game of Thrones,' in fairness, both projects have really complex, three-dimensional, contradictory, strong women... The writing of female characters is extraordinary and equal to the men.
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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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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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Sometimes writing a novel is not unlike having a baby. You'd have to ask a female novelist to compare the pain.
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The ego being shattered is not what frightens me - that can be useful for writing - but the ego being inflated is sort of like it dying of gout.
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I'm not one of those people who's so blinded by my own work and my sweat. It's kind of risky writing a memoir when you're really part of a larger universe.
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When I'm writing, I look like a fool because the parts are moving through me and I'm crying and laughing and making faces.
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I started playing video games, and in 1978 I discovered Dungeons & Dragons and started game-mastering and writing my own adventures and creating my own worlds.
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I first encountered Bradbury's writing when I was pretty young. He's a great bridge author between young-adult fiction and literature.
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It's hard to remember a time when I wasn't writing.
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I've been writing since I came to Nashville when I was 17. I've been blessed to have written with so many of the biggest names around. They took me under their wing and taught me the ways of writing. They saw something special in me, which feels great. Every song on my record is going to be original, and that's just a really cool feeling.
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I don't necessarily set out to teach or say anything in particular in my writing. Morals and themes come out as I'm telling the tale.
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Every moment of a science fiction story must represent the triumph of writing over world-building.
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I have on my wall right now a front page of the 'Journal' from January 1991, when I co-wrote a front-page story about Iraq firing missiles at Israel. By October, I was writing about tech products.
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...Stevens does not think of inspiration (or whatever you want to call it) as a condition of composition. He too is waiting for the spark from heaven to fall-poets have no choice about this-but he waits writing; and this-other things being equal, when it’s possible, if it’s possible-is the best way for a poet to wait.
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There are, first of all, two kinds of authors: those who write for the subject’s sake, and those who write for writing’s sake. The first kind have had thoughts or experiences which seem to them worth communicating, while the second kind need money and consequently write for money.
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I think I'm genuinely sincere, and that's what hopefully makes it work. I take that very seriously when I'm writing.
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I started writing because I wanted to write scripts, but I wasn't very good at it. Then I started writing short stories, sort of as treatments for the film scripts, and I found I enjoyed writing short stories far more than I enjoyed writing film scripts. Then the short stories got longer and longer and suddenly, I had novels.
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Alphabet Juice is the book Roy Blount was born to write, which considering his prodigious talent, is saying a lot. Did you know that the word LAUGH is linguistically related to chickens and pie? This is the book that any of us who urgently, passionately love words-to read them, roll them over the tongue and learn their life stories while laughing and eating chicken and pie-were lucky enough to be born to read.
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Getting bogged down in old stories stops the flow of learning by censoring our perceptions, making us functionally deaf and blind to new information. Once the replay button gets pushed, we no longer form new ideas or conclusions - the old ones are so cozy.
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The one thing I've learned in the last ten years is that successful artists don't get paid to write and sing songs, they get paid for the psychological roller coaster they're going to have to ride. That's the hard work.
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I don't want to be followed by paparazzi; that terrifies me.
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I always begin my stories as experiments - on large yellow tablets - a mixture of writing and sketching.
