In the beginning, I was searching for myself in my music. My music was for me. I didn't have the mental room to be conscious of the listener; I wrote to save myself.
I first got to know Charles in the late seventies when I wrote an article and then a book about him and I think at the time he came across as quite appealing, it was probably the height of his popularity.
Mozart wrote so many works in his thirty-five years that it would take a lifetime just to write out the notes. We literally do not know how he did it.
I wrote The Same Sea not as a political allegory about Israelis and Palestinians. I wrote it about something much more gutsy and immediate. I wrote it as a piece of chamber music.
I wrote about four novels before I wrote a word of journalism.
Our founders got it right when they wrote in the Declaration of Independence that our rights come from nature and nature's God, not from government.
I did not write it. God wrote it. I merely did his dictation.
The original Return of the Living Dead, I was attached to direct it, and I wrote the story. Production was delayed. In the meantime I went to London to do Lifeforce.
I wrote my first full book when I was fourteen, and that was 'Obernewtyn.' It was also the first book I had published. It was accepted by the first publisher I sent it to, and it was short listed for Children's Book of the Year in the older readers category in Australia.
Right at the end of the war I wrote a piano sonata, which was written at a time when Sam Barber used to come down here and we used to have lunch together in a very nice old hotel that's now not there.
When I wrote 'Green, Green,' it was like a really a statement of where I was at philosophically in my life.
My paintings have gotten to be pretty popular and I've taken a little bit more interest in painting the last few years. In fact, my novel that I wrote not too long ago, 'The Hornet's Nest,' I painted the cover picture for it and I do a good bit of painting now.
For my books of nonfiction I write about subjects I find fascinating. I've been a Yankees and a Lou Gehrig fan for decades, so I wrote 'Lou Gehrig: The Luckiest Man.' It's more the story of his great courage than of his baseball playing. Children face all sorts of challenges, and it's my hope that some will be inspired by the courage of Lou Gehrig.
You know, after filming the movie the book was still just as big. I think it was actually bigger. I think Stephen King went back and wrote extra pages. He's fantastic.
I wrote the tunes and sang only nonsense words. Then came Moore and dressed them with the lyrics.
If you are feeling something, then Shakespeare felt it and wrote about it - and wrote about it so eloquently.
I knew that if I wrote a new book every six months or every year, if I continued to read great books, eventually I would write something worthy of publication. I understood I might be in my forties or my fifties or even my sixties, but I felt confident that it would happen.
We became the songs we wrote.
My recurring nightmare is that someday I will be faced with a panel: Franklin Roosevelt, John Kennedy and Lyndon Johnson all of whom will be telling me everything I got wrong about them. I know that Johnson's out there saying, 'Why is it that what you wrote about the Kennedys is twice as long as the book you wrote about me?'
I brought my personality and sense of wonder and I think they wrote as much of my personality as they could. I do not go around kicking butt and saving the universe all the time but they tried to capture me as best as they could in the character.
When the Exxon Valdez spilled in 1989, I was angry. I even wrote on the back of my car, Boycott Exxon!
I wrote my first novel because I wanted to read it.
Bob Dylan's first couple of records in the 60's weren't considered cover records, but he only wrote one or two original songs on each album.
No writer of a portion of the Bible was perfect. It was the direct and miraculous operation of the Holy Spirit that what they wrote is without mistake.
I do not mind having written the song at all. I just wish that I had written it in a different key, as the high d is hard to play. I am glad that I wrote something that brought joy to millions of people.
Bob Altman got nothing from the TV series 'M*A*S*H,' and the royalties for the theme song went to his oldest son, Michael, who wrote it as a 15-year-old poet!
I always knew I wanted to be a musician, and I always knew I wanted to write, 'cause the people I was listening to all wrote. I never thought it was an option to sing anyone else's songs.
In the first year, 1988, I wrote and sold 3 novels.
In college, I faced an interesting problem. I wanted to play music all the time and yet I wasn't ready for anyone to hear it. To remedy this, I took to retreating to stairwells as a safe place to sing and write music. It was there that I wrote most of my songs in college and really grew into an artist.
Remember that I wrote a pavane for a dead princess, and not a dead pavane for a princess!
I had bohemian parents in Seattle in the last '60s living in a houseboat. My dad wrote science fiction novels and painted big murals and oil paintings.
I wrote a spec script that people really liked: a political serial based on Jeffrey's Toobin's 'A Vast Right-Wing Conspiracy.' It was the first thing I had ever written with any political subject matter in it.
Seeing my book on a billboard in New York was a bucket-list-type thing, but also a deeply surreal moment. I had to keep reminding myself that, oh, yes, I wrote that book.
Homer was able to give us no information relating to the truth, for he wrote of human rather than divine things.
The very first song I wrote was about a boy that I was obsessed with.
When I started trying to produce records for other people, one of the first tracks I wrote and produced was sort of a 'Kelly Clarkson circa 2008,' kind of big-brassy, guitar-pop, rock song. I was like, 'I can do this. I can make pop songs.' It was bad.
