Quotes of All Topics . Occasions . Authors
I'm not asking for there to be all black writer's rooms or all Asian writer's rooms, or all white - I want them all to be diverse. When it's diverse, you're going to have a completely different dynamic. Everybody feels othered. Nobody feels like they've got the upper hand.
I think the last thing you want to do as a writer, as a storyteller, is to create indifference. I don't necessarily go out of my way to provoke, but I would much rather have a song that triggers a whole myriad of reactions than a song that inspires a shrug of the shoulder.
When you're starting off as a young writer, you look at all the stuff that's gone before and the stuff that's influenced you, and you reach the ladle of your imagination into this bubbling stew pot of all of this stuff, and you pour it out. And that's where you start from.
I graduated from Second City Los Angeles. It helped me tremendously, not only in my roles in films but in helping shape me into a writer as well. In improv, you will fail sometimes, so it teaches you to be brave and try anything. The worst that can happen is nobody laughs.
You see the genius that Whitney Houston has as an interpreter of material, and you realize why genius can be applied to only a few interpretive performers. She finds meaning and depth and soulfulness in a song that often the writer and composer never really knew was there.
I've been known to write 10 pages a day for 10 days running before I take a breath. I am not a disciplined writer. I'm one of those people who laughingly call themselves inspirational writers, which basically means someone who has no control over their own creative process.
Smart authors, faced with storms, chose to create umbrellas. That's why a diverse group of authors banded together to create The Fiction Writer's Co-op, which will work to find innovative ways to promote each other's work and cheer each other on in a very competitive field.
As a writer, that moment every few years when I buy a new laptop and find out that all the word processing stuff has slightly changed again (stuff I spend every working day using) is like getting into bed at night and finding some mad robot where you expected your wife to be.
In a weird way, I never wanted - I don't consider myself a very good writer. I consider myself okay; I don't consider myself great. There's Woody Allen and Aaron Sorkin. There's Quentin Tarantino. I'm not ever gonna be on that level. But I do consider myself a good filmmaker.
I wanted to be a writer as a teen... so storytelling was my first love. In my late teens, design became an obsession as I realized that I could express myself through the medium. Much later, when I founded Fuseproject in 1999, our slogan became 'design brings stories to life.'
I was so in love with books from as early as I remember that it seemed a natural step to want to create them. And so I just wanted to be a writer from a very young age. And I think that the lies were just a natural side effect of me wanting to tell stories and write them down.
It is insight into human nature that is the key to the communicator's skill. For whereas the writer is concerned with what he puts into his writings, the communicator is concerned with what the reader gets out of it. He therefore becomes a student of how people read or listen.
I love New York, and I'm drawn to a certain intensity of life, but I've just never felt like I want to escape from the Midwest. A writer lives a great deal in his own head, and so one intuitively finds places where your head is more clear. New York for me is one of those places.
I don't say no as much as I should. I'm an extreme workaholic. So I can be sick, and I still say yes to anything. When you are the CEO of your own company, editor of your own videos, your own writer ,and you do every role yourself, you have a hard time saying no to opportunities.
A generation before, it had been sagebrush and coyotes; a generation later, it was a burgeoning movie town. But for that brief idyllic time in 1910, Hollywood looked like the perfect place for a successful writer to settle down, build his dream house, and maybe do some gardening.
In the end, I am quite normal. I don't have odd habits. I don't dramatize. Above all, I do not romanticize the act of writing. I don't talk about the anguish I suffer in creating. I do not have a fear of the blank page, writer's block, all those things that we hear about writers.
I began writing early - very, very early... I was already writing short stories for the radio and selling poems to poetry and art festivals; I was involved in school plays; I wrote essays, so there was no definite moment when I said, 'Now I'm a writer.' I've always been a writer.
I'm a writer because I love reading. I love the conversation between a reader and a writer, and that it all takes place in a book-sort of a neutral ground. A writer puts down the words, and a reader interprets the words, and every reader will read a book differently. I love that.
I think that what I have been truly searching for as a person, as a writer, as a thinker, as a daughter, is freedom. That is my mission. A sense of liberty, the liberty that comes not only from self-awareness but also from letting go of many things. Many things that weigh us down.
I think that if you have a knack for storytelling, and you work really hard at it, you'll have a chance to tap into something deep. But the fact remains that good sentences are hard won. Any writer worth a lick knows constructing a sentence, a paragraph, or a chapter is hard work.
I was married to a law student, and I used to attend classes with him at Georgetown University Law Center. Being of dramatic bent, I was drawn mainly to Criminal law and Evidence classes. A just-beginning writer, I would find an empty chair and listen, mesmerized, to the lectures.
I tried to get people at 'South Park' into 'Downton Abbey,' and it didn't work. I think they were like, 'Downton Abbey?' What?' And I kinda made a big plea in the writer's room, like, 'Guys, you should really watch it. It's good. It's addicting. My wife and I are obsessed with it.'
If you're a writer, write. You just keep writing. And if you're a filmmaker, you keep doing what you can to keep telling your stories; you don't stay on the one. Keep moving forward and doing what you can to tell whatever story you can tell, be it via writing, be it via filming it.
As a writer, I have to admit, there is something darkly compelling about Alzheimer's because it attacks the two things most central to a writer's craft - language and memory, which together make up an individual's identity. Alzheimer's makes a new character out of a familiar person.
I can't predict how reading habits will change. But I will say that the greatest loss is the paper archive - no more a great stack of manuscripts, letters, and notebooks from a writer's life, but only a tiny pile of disks, little plastic cookies where once were calligraphic marvels.
I'm interested in memory because it's a filter through which we see our lives, and because it's foggy and obscure, the opportunities for self-deception are there. In the end, as a writer, I'm more interested in what people tell themselves happened rather than what actually happened.
I grew up in Texas City, Texas. I didn't know anybody who was a director or whose parents or grandparents were directors. I met somebody from a nearby town one time whose father had been to the moon - it was far more likely to be an astronaut than it was to be a writer or a director.
You have to force yourself to give up and to move onto something else. That's the way you grow as a writer, by trying new things and tackling new subjects. But it's difficult. There's part of you that doesn't want to give up because you realize that, in some way, you're surrendering.
I think that reading is always active. As a writer, you can only go so far; the reader meets you halfway, bringing his or her own experience to bear on everything you've written. What I mean is that it is not only the writer's memory that filters experience, but the reader's as well.
The writer's goal is to try to make it frightening without describing it too much, and yet not making it so grey that you don't know what's going on... Your imagination can imagine all sorts of really horrible things, and if you're able to prolong that feeling, then you've succeeded.
As a writer, I spend a lot of time alone, and I like it. I'm also a long-distance runner, and I love long, solo road trips; I can drive literally all night, drinking coffee, and not even listening to the radio, just strangely content sifting through the random thoughts in my own head.
I've wanted to be a writer since I was a boy, though it seemed an unlikely outcome since I showed no real talent. But I persevered and eventually found my own row to hoe. Ignorance of other writers' work keeps me from discouragement and I am less well-read than the average bus driver.
My son is trying to be a sports writer, and my daughter is a college student. She wants to be a comedy writer, and she's at film school. I discouraged both of them early on from getting involved in Starbucks. I didn't think it would be fair; plus, they didn't have any interest anyway.
I love fame. I love being written about. I don't really mind if people think I'm a bad writer, if they don't understand my weird Instagram performance art or they find my long captions annoying. That's part of the package of being in the public eye, and honestly I find it exhilarating.
The goal, I suppose, any fiction writer has, no matter what your subject, is to hit the human heart and the tear ducts and the nape of the neck and to make a person feel something about the characters are going through and to experience the moral paradoxes and struggles of being human.
To write is a relief from life's problems. It is a way in which you revenge yourself. In art, the writer achieves utopia. But any attempt to achieve social utopia is bound to catastrophe. If you want a society of saints, the result is hell, repression, totalitarianism, and persecution.
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.
Before I became a writer, I was running a jazz bar in the center of Tokyo, which means that I worked in filthy air all the time late into the night. I was very excited when I started making a living out of my writing, and I decided, 'I will live in nothing but an absolutely healthy way.'
My only wish would be to have 10 more lives to live on this planet. If that were possible, I'd spend one lifetime each in embryology, genetics, physics, astronomy and geology. The other lifetimes would be as a pianist, backwoodsman, tennis player, or writer for the 'National Geographic.'
As a very young writer - kindergarten through about fifth grade - I most often wrote about black characters. My very early stories were science fiction and fantasy, with kids stowing away on spaceships and a girl named Tilly who was trying to get into the 'Guinness Book of World Records.'
My father was an engineer - he wasn't literary, not a writer or a journalist, but he was one of the world's great readers. Every two weeks, he'd take me to our local branch library and pull books off the shelf for me, stacking them up in my arms - 'Have you read this? And this? And this?'
I think a writer's job is to provoke questions. I like to think that if someone's read a book of mine, they've had - I don't know what - the literary equivalent of a shower. Something that would start them thinking in a slightly different way, perhaps. That's what I think writers are for.
The true art is being able to take whatever the writer's done, and if it is a bit flimsy or it is a bit rushed or is just box-ticking writing, then the true artist would be able to make that come off the page and sing for an audience or a viewer. I'm still learning how to do that properly.
We had all these famous writers in Sweden and from all over the world home at dinner. I wanted to be a writer, and I wanted to be a highbrow writer as my father. He never, ever read anything like crime novels. He wrote biographies of Dante, James Joyce, August Strindberg and Joseph Conrad.
'Westworld' is going to be incredible, and the production line is amazing. That was really nice because Lisa Nolan, who is in charge there, is fabulous and is a great example of a woman doing that role. So that was great, and she's amazing - an incredible writer and fantastic to work with.
I think that readers believe that a writer becomes friends with the people he interviews and writes about - and I think there are some writers who do that - but that hasn't happened to me. I do think it's dangerous because then you write the article to please them, which is a terrible error.
'Top Boy,' for some people, was very controversial because it seemed to be portraying black people in a certain light that they thought to be stereotypical. However, what I would say is that the writer went and lived in Hackney in East London for a long time and did his research really well.
In many a piece of music, it's the pause or the rest that gives the piece its beauty and its shape. And I know I, as a writer, will often try to include a lot of empty space on the page so that the reader can complete my thoughts and sentences and so that her imagination has room to breathe.
I have three brothers and one sister, and I'm the third child. Sometimes people say, 'It's only natural you would become a writer - your parents were English professors.' But my four siblings were brought up in the exact same household, and no one else became a writer or an English professor.
Don't be a writer; it's a terrible way to live your life. There's nothing to be gained from it but poverty and obscurity and solitude. So if you have a taste for all those things, which means that you really are burning to do it, then go ahead and do it. But don't expect anything from anybody.