I write... sonnets... and writing sonnets is boring. You have to find rhymes; you have to write hendecasyllables; so after a while, I get bored and my drawer is overflowing with unfinished short poems.
It's one of the most liberating things I experience in writing - letting yourself get rid of a gesture or character or plot point that always nagged, even if you couldn't admit to yourself that it did.
Women have seen that they have locked themselves up with feminist writing.
I'm excited and terrified to write something new. I won't be writing about suburbia.
My first break was becoming a staff writer on the rebooted '90210.' And then I got stuck writing in the teen genre for a while.
I don't really distinguish between sympathy and honesty when I'm writing. The two go together - I'm interested in inhabiting my characters, seeing the world through their eyes.
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.
Any experience that isn't fun is probably something I will at least use in my writing someday.
I suppose, because I've been able to make a very good living writing books, that going out and finding another million dollars under the sea is not the fascination. The fascination is in finding the ship.
We are material creatures who spend much of our lives on material pursuits (even building a cathedral or writing a novel requires stone and mortar or paper and ink).
Oh yeah, I was one of the first guys writing comic books, I wrote Captain America, with guys like Stan Lee, who became famous later on with Marvel Comics.
I went to USC for writing. I was judgmental of actors and their Starbucks and fancy cars.
Writing that's not working for a living.
It's the same thing in a way, although writing a book is a very solitary thing.
This was totally influenced by me and the direction that I am writing about and the stuff that I am writing about. There is just no way that you can be as intense as what I have been through in my life over a drum beat machine, sample, or loop; it's just not going to happen.
I thought people cared about music in a deep way, so I was writing to that spirit in people and in myself. It was me, thinking I knew what was up. Youth, who else can change the world?
I was always writing for myself. I wrote what I needed to write and hear - that's what makes it powerful.
When I was in my early to mid-teens, that was a very heavy diet of science fiction and fantasy, so those were the kinds of books I tended to imagine writing someday, or even began to try to write.
I have a number of friends that try to live off their writing, and there's way more pressure for a hit or to write a certain type of book. You can't do a limited-edition short-story book with drawings unless you don't want to eat anything but ramen.
Although I enjoyed writing Film Music it was always a means to an end, in that it enabled me to keep a wife and family and write my classical music, which has always been my passion.
If you are writing comedy and try to please everybody, you'll please nobody.
I don't think anyone is ever writing so that you can throw it away. You're always writing it to be something. Later, you decide whether it'll ever see the light of day. But at the moment of its writing, it's always meant to be something. So, to me, there's no practicing; there's only editing and publishing or not publishing.
Any suggestion that I'm writing about political operatives because I'm interested in political operatives misses the entire point.
There are very few solid family films. A lot of the writing is awful.
What I said about John was that he liberated me from my anxieties about writing in a correct, acceptable way.
I started writing 'The Lord of Opium' in 2008 and produced about 80 pages before disaster struck. Three eye operations nearly put an end to my career.
When I started writing 'Diary of a Wimpy Kid,' I was trying to write the type of book you might enjoy, put back on your shelf, and rediscover a few years later. I hope that the book finds its way into the bathroom of every kid in America.
I started writing my own plays, and I would sell out, but after everything was said and done, I'd break even. That's being successful.
Writing a book for me, I expect, is very similar to the experience of reading the book for my readers.
Read everything. Write all the time. And if you can do anything else that gives you equal pleasure and allows you to sleep soundly at night, do that instead. The writing life is an odd one, to say the least.
Ottawa is a hot spot of Canadian crime writing, with perhaps the greatest concentration of active, involved, published crime writers anywhere.
I wrote my first book when I was 15 years old. And my second book '1,2,3 Publish Me!' shows everyone how writing a book is done in just the three secret editing levels I discovered!
When I was 18, I took a trip to Thailand with a friend. We stayed for a month. Bangkok was very raw for a teenager: there were no cellphones, no Internet, and the only music I had with me was this cassette by Liz Phair. I was writing a lot of poetry, and she embodied a talky style of songwriting that I found very accessible.
Writing a book is a very lonely business. You are totally cut off from the rest of the world, submerged in your obsessions and memories.
I've always been interested in both writing and music. When I first started getting published, I also worked as rehearsal pianist for the Boston Ballet, touring with them all over the U.S.A. and Europe - I wasn't making enough money from writing to support myself.
If you're writing, it means getting up and writing all day, and if you're filming, it's getting up and filming all day. I get up, go to my computer, write, turn it off, and go to bed. That is a Clarkson day.
