Writing Quotes
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I keep writing books about why TV is good. There's nothing more fun to me than steering people toward something that I really loved that I think they might not otherwise see. That's the reason I do what I do.
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Sometimes we'll walk into a set, and I'll think, 'Oh, this film doesn't look like this.' You know, 'cause I read the script, and I saw it in my head in some other way. Which is a lot like what happens when they're writing a movie that's based on a book - I'm like, 'Ah! He doesn't have a beard.' You have these visions in your head about it.
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I think some of the best modern writing comes now from travellers.
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Writing fantasy lets me imagine a great deal more than, say, writing about alligators, and lets me write about places more distant than Florida, but I can tell you things about Florida and alligators, let you make the connection all on your own.
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I've always been drawn to the real stuff and the stuff that feels authentic. And so when I'm writing songs, that's what I try to do.
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I have this dream again and again: I find extra rooms in the place where I live. You could say it's a very New York dream, but I think it's about writing - the feeling that there is something behind a wall or a door.
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Good traders trade. Good letter writers write letters.
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Writing for other people is easier than writing for myself - it's not as personal.
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Tanya Ward Goodman, writing with a big heart, clear eyes, and a light touch, allows us a privileged glimpse into the shabby, enchanted world of traveling carnivals, roadside attractions, and a beloved, eccentric father’s descent into Alzheimers. Just as her dad animated the handcarved, miniature western world of Tinkertown from coat hangers, inner tubes and old sewing machine motors, Tanya Ward Goodman has fashioned her complex and often hilarious memories into a beguiling, wry, and moving work of art.
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When I start to write and record a track, I always think about where it is supposed to take place, what kind of room that is, and what kind of atmosphere it should have. Also how it should be performed, and by what kind of musicians or vocalists. I work in a very theatrically minded sort of way.
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We're the only branch of government that explains itself in writing every time it makes a decision.
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I'm always writing songs, and I've got a bunch that I want to record.
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I think that anyone who likes writing views 'The New Yorker' as the, you know, pinnacle of the publishing world. If you get 50 words published in 'The New Yorker,' it's more important than 50 articles in other places. So, would I love to one day write for them? I guess. But that's not my sole ambition.
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From the writer's point of view, critics should be ignored, although it's hard not to do what they suggest. I think it's unfortunate to have critics for friends. Suppose you write something that stinks, what are they going to say in a review? Say it stinks? So if they're honest, they do, and if you were friends you're still friends, but the knowledge of your lousy writing and their articulate admission of it will be always something between the two of you, like the knowledge between a man and his wife of some shady adultery.
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If he wrote it, he could get rid of it. He had gotten rid of many things by writing them.
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It is so much hard work writing your first novel. You're not even sure that it is possible to do.
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I was writing all my childhood. And I wrote two novels when I was 17, which were terrible. And I'm not sorry I threw them out. So, I wrote. I had to write. You know, the thing was, I had no education.
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I always say that writing non-fiction versus writing fiction is a bit like architecture versus abstract painting.
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That was my problem then and it's my problem now; I have a bad attitude. In a nutshell, I fear authority but at the same time I resent it - the authority and my own fear - so I rebel. And writing SF is a way to rebel. … SF is a rebellious art form and it needs writers and readers and bad attitudes - an attitude of 'Why?' or 'How come?' or 'Who says?'
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I write because I hate. A lot. Hard.
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When I first started writing, I was in advertising at the time, I was doing most of my writing on weekends. I had studied most of the other series heroes and I figured it would be fun for mine to be different and put him in and around water. So I dreamed up Dirk Pitt.
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The thing that makes vivid writing is when the reader is in the body of the story, the body of the character. Things smell like something; there's weather, there's texture, there's light.
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Older teens tend to write to me and say, 'Thank you for not writing down to teenagers.'
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I believe in not quite knowing. A writer needs to be doubtful, questioning. I write out of curiosity and bewilderment.
