Writing Quotes
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I never listen to music when I'm writing.
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My first break was in my home country with some pop songs that became hits, writing for French singers Christophe & Francoise Hardy, which became hits.
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I'm more interested in the writing than in the content per se (good writing can be about wallpaper and I'll devour it).
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There comes a time when you realize that everything is a dream, and only those things preserved in writing have any possibility of being real.
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I write about two hours a day, and I write in fits and spurts - 45 minutes here, a half-hour there - and when I get stuck, which happens often, I take the dogs for a walk. But during the time when I'm not actually writing, I'm thinking.
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Think 'Game of Thrones.' In the old days, this sort of show might be considered bad writing. It doesn't really seem to be moving toward a crisis or climax, it has no true protagonist, and it's structured less like a TV show or a movie than a soap opera.
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I thought I could describe a state; make a map of sorrow. Sorrow, however, turns out to be not a state, but a process. It needs not a map, but a history, and if I don't stop writing that history at some quite arbitrary point, there's no reason why I should ever stop.
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I don't make that hard and fast distinction between political and nonpolitical writing. I write about what bothers me.
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If something in your writing gives support to people in their lives, that's more than just entertainment-which is what we writers all struggle to do, to touch people.
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Sometimes, what's not said is just as important to the writing as what is said. As a writer, we have our voices heard. I think that, at oftentimes, the ability to allow the dialogue to recede properly into the world of the film is also a really valid sort of way to be a writer, I think.
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I tried writing this book about a singer in a wedding band, but realized I only wanted to write the book so I could have an excuse to sing with a wedding band as research. That's not a good enough reason to write a book.
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When you're writing in big block paragraphs, you can afford to have a redundant sentence now and then, but the Twitter format requires concision.
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Footnotes -- little dogs yapping at the heels of the text
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I wanted to write when I was young, but people said it was impossible. Then my parents locked me in a mental institution - they said I was crazy and would never make a living from writing.
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I loathe the trivialization of poetry that happens in creative writing classes. Teachers set exercises to stimulate subject matter: Write a poem about an imaginary landscape with real people in it. Write about a place your parents lived in before you were born. We have enough terrible poetry around without encouraging more of it.
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I think there are people out there writing original bluegrass songs, but it's hard to get them out on the air.
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I never had any frustration about writing uncredited. I always felt that the satisfaction of doing it was in the doing of it, really, and getting recognised by the small number of people that know what you did.
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I started writing out all of my feelings, and people asked me, 'Have you ever thought of recording your music?' It was something I'd always thought of, but I'd never really had the confidence.
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I chose to write about food: food is inherently political, but it's also an essential part of people's real lives. It's where the public and private spheres connect. I wanted to show readers that the larger politics of war and economics and U.S. foreign policy are inextricably bound to the supposedly trivial details of our everyday lives.
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It's – I write the books and let the market find who reads it. I guess a young adult is anywhere from ten to fifteen.
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Before I published anything, I dreamed of publication, but I didn't actually write for it. I imagined that writing for an audience was something for fancier people. I aspired, but mostly I wrote for myself. I wrote because it made me happy.
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I am a person who can't teach writing or make a living in any public way, as I get confused when interrupted or overstimulated. In a classroom or crowded room, I all but blank out. So my only income is from novels.
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I thought a director was like a pillow who sat under the writer, supporting them and submitting to their vision. It took me a long time to realise that what a writer really wants is a production that matches the play and the writing. It is the only way the play can achieve its full potential.
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What a thrill it is to have my writing recognized by an institution as admirable and vital as the National Endowment for the Arts.
