Writing Quotes
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Today, writing seems to me like an incredible luxury, almost a perversity, something which hardly exists in the world anymore, where you get to see the fruits of your actions in a daily way.
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I love good TV shows, but it's not what I do. I kind of sculpt my films as I go along. And TV is all about writing, so you just shoot, shoot, shoot what's written.
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I like to sit down every day and not know where the book is going. I have no idea where the book is going to go or how it's going to end as I'm writing it.
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I write every day. I'm always in the process of writing my last book, until the next one.
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I'm like a junkie for writing.
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I didn't necessarily have a total idea when I was writing the movie of where everything was going. I just wanted to have really realistic dialogue and write like people I knew talked. I tried to keep it very real.
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I think I'm an American writer writing about Latin America, and I'm a Latin American writer who happens to write in English.
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In writing, as in medicine, there are no short cuts. You need stamina.
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Writing is a solitary endeavor, but not a lonely one. When you write, your world is populated by the characters you invent, and you feel those people filling your life.
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Well, as an artist, I think that Elvis's generosity to me he always talked very highly about me, he always spoke very highly about my work and singing and my writing.
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I don't like writing with real people in mind.
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I was not going to use writing for advertising or journalism. I would tend bar, load trucks, chauffeur - do whatever it took. But from the moment I took my first writing workshop, I was a writer.
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When I've taught writing to five, six, and seven year olds, it's not very different than talking to an adult writer. They're writers then, and when they get to be young teenagers they're not anymore. You might go and talk to them about writing, and they'll be very self-conscious or will have detached themselves from the group.
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I've had writing sessions with people, but I've never had one where you're just there, and you start making a song, and then it's too good to be true that something really cool will come out of this.
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One thing I've tried to do in writing music is take on very basic things, very archetypal things.
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For years I've wanted to write about the Australian countryside, but, like most Australians, I've only got a tourist's knowledge of it. I thought that if I disobeyed that basic rule of writing - write about what you know - I'd write a thin and inauthentic book.
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I started writing while I was a little boy. Maybe it's because I was reading a lot of books I admired, and thought that I would like to write something like that someday. Also, my love for good writing pushed me.
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I don't want my writing to be work to read. My main goal is completely shameless entertainment. I want people to smile and giggle and enjoy the book. I'm not trying to save the world through literature.
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I love co-writing. That whole process is a challenge in that good writers are pushing you.
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Writing for children, you do bear a responsibility to not include overt or graphic adult content that they are not ready for and don't need, or to address adult concepts or themes from an oblique angle or a child's limited viewpoint, with appropriate context, without being graphic or distressing.
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A risk for a poet-novelist is imbalance: The poems can flatten into prose or lose their intensity of focus; the novels can stall amid lofty writing or literary preciousness and ignore the engine of plot and character.
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I think the kind of unexpected I really love is when you open books and the actual way of writing is different and interesting. Like reading Virginia Woolf for the first time or Lawrence Durrell for the first time.
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Public school teachers from every corner of America post classroom project requests on DonorsChoose.org. Requests range from pencils for a poetry writing unit to violins for a school recital to microscope slides for a biology class.
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When I'm actually writing by hand, I get more of a sense of the rhythm of sentences, of syntax. The switch to the computer is when I actually start thinking about lines. That's the workhorse part. At that point, I'm being more mathematical about putting the poem on the page and less intuitive about the rhythm of the syntax.
