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I know writers who write only when inspiration comes. How would Isaac Stern play if he played the violin only when he felt like it? He would be lousy.
I think I'm someone who can prattle on a long time about something, which serves me well as a novelist, but it's the enemy when I'm writing short stories.
Which is strange - I've always thought of myself as someone who writes out of difficulty. And I did do that, but I came out on the side of light more often than not.
A lot of writing about being a mother is not so much writing about the kids themselves. They become placeholders for the shift that happens when you're suddenly in charge of other people.
I would like to say that I was inspired to write 'Shiver' by some overwhelming belief in true love, but here's my true confession: I wrote 'Shiver' because I like to make people cry.
I know that DER SPIEGEL is a respected magazine. But I don't know whether it is possible for you to publish the truth about the Holocaust. Are you permitted to write everything about it?
When I'm writing in long hand, it just goes on and on and on. When I was in the saloon business, I would just greet people and talk to them and avoid taxes, and getting behind the bar. What else.
Personal & Confidential. Letters so marked should be. When the contents are only printed matter, though, the minifrauder succeeds in sowing illwill & ire.
When writing, you can't break physical rules. You can't have people come back from the dead. That's cheating. I am a kind of narrative fundamentalist in many ways.
So long as the stereotype is used as a way of understanding how to fix the problem as opposed to demonizing a people or writing them off, then I think it's OK.
As a writer, I know that - you write a first draft and then put it in a drawer. The longer I can put it in a drawer, the better off I am. So I structure my writing so that things can sit.
People don't actually, a lot of times, know the game behind the game. If people think that they do, it's a little bit of a naïve assessment of how the [writing] industry works.
[Alex] Haley had a tendency to write even more frequently and voluminously to his agents and his editors than he did putting pen to paper in his own books.
I do believe that reading can help you understand what you're writing and see what others are doing. But sometimes the desire for more information can act as an inhibitor.
I'd always wanted to write a song about a leather jacket and how wearing it makes you feel. I love leather jackets, and I've got a big collection of them.
I created a tone for network television that they hadn't really been seen before. And I have to admit that was really more of an accident. I was just writing the way I write.
On Stranger Than Fiction, the script was so good that I stuck to every line because it was just such brilliant writing from Zach Helm that I felt like I really just want to shoot the page.
The guy who sits at the keyboard and types is so much smarter than I am. I think I got into writing so that I could spend as much time with that guy as possible.
When I write a film, the film gets handed off to a producer and a director and I go my merry way. With television, I am expected and contracted to stick around and actually produce what I've written.
As far as the style, I can't say there is one definite style. I probably feel most comfortable writing in a tonal idiom, with considerable, if not extreme chromaticism.
And much as I enjoy writing and creating stuff, I don't enjoy it so much that I am willing to give up any time that could otherwise be spent performing.