Writing Quotes
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Cicero wouldn’t approve of my writing style, but at least I pronounce his name with a hard C.
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I'm never happier when writing than when I see gags taking shape - ideally, gags at my own expense. What I like is the shuttling back and forth, serious into comedy and vice-versa, ideally, both in the same sentence, or even simultaneously. The best jokes are always ideas in miniature.
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In the end all books are written for your friends. The problem after writing One Hundred Years of Solitude was that now I no longer know whom of the millions of readers I am writing for; this upsets and inhibits me. It's like a million eyes are looking at you and you don't really know what they think.
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Here is a simple recipe to begin with. Get up every morning with the set intention of writing and go to your desk and sit there for three hours, whether you accomplish anything or not. Before long you will find that you are writing madly, not waiting for inspiration.
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I think it's a very bad idea for someone to start writing for a readership.
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I can write two scripts concurrently, but I usually prefer to do one at a time. However, I also usually have 5 or 6 story ideas that are percolating in my head at any one time, so it can get a little crowded in there.
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I never leave home without my writing notebook, and get a lot of writing done in transit. One great place to create is while riding the subways of New York City, where I live.
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A great performance like Lady Macbeth may be forgotten. Writing endures.
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I'm not disciplined in terms of scheduling. I work best late at night, but I can't do that when I'm on a TV show - our hours are roughly 10-6:30, so I have to go to sleep at a reasonable hour. So I'll sometimes write fiction for an hour or two in the evenings, or several hours on the weekend afternoons - unless I'm actively writing a script for the show I'm working on, in which case there's no time to write fiction at all.
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How simple the writing of literature would be if it were only necessary to write in another way what has been well written. It is because we have had such great writers in the past that a writer is driven far out past where he can go, out to where no one can help him.
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Why can't you write a great pop song when you are 85? Maybe you can.
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I write longhand and I type and I rewrite on the typed pages.
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I had always written. I had written stories and poems. Then I started writing plays.
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I read the 'Harry Potter' books as I was writing my own books, and I love them, but I don't think Harry was very much like I was as a kid. He's always brave, and he's perfect in a lot of ways.
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Printing and transporting paper is very expensive, and e-books eliminate the expensive four-color printing, the higher quality paper, the ocean shipping, the customs clearance, the inventory, answering the telephone, writing up the orders, picking, packing and shipping and managing all of these functions. So we eliminate a huge number of costs and the chance that those books won't sell.
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Once a piece of writing gets to a moment where it's not going to get much better than it already is, marinate it. If you still like the piece, send it out and see what others think. If not, it's time to put it away and forget about it for a while.
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I publish a piece in order to kill it, so that I won't have to fool around with it any longer.
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Don't write what you think people want to read. Find your voice and write about what's in your heart.
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Photographers direct the eye toward a particular object. We who write, one hopes, are directing the heart and the soul.
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One of the things about writing a novel is you can do it any way you want. It's your voice that's important and I see absolutely no reason why a screenplay can't be the same. It makes it a hell of a lot easier when you're the writer and the director.
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I think when people hear about a celebrity writing a book of any kind, the assumption is that it was dictated to a ghostwriter.
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I was never a great reader, but there were two stories I loved best: Kipling's The Elephant's Child and The Jungle Book. Deep down, I've always wanted to write a book about a wild child and an elephant.
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I never got any training in how to write novels as an English major at Oberlin, but I got some great training for writing novels from anthropology and from Margaret Mead.
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Most students of nature sooner or later pass through a process of writing off a large percentage of their supposed capital of knowledge as a merely illusory asset. As we trace more accurately certain familiar sequences of phenomena we begin to realize how closely these sequences, or laws , as we call them, are hemmed round by still other laws of which we can form no notion. With myself this writing off of illusory assets has gone rather far and the cobweb of supposed knowledge has been pinched (as some one has phrased) into a particularly small pill.
