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I try not to get analytical in the writing process. I try to just kind of keep the flow from my brain to my hand as far as the pen is concerned and go with the moment and go with my guts.
It's amazing to know that 5 years ago I was writing songs in a basement in the ghetto and now I'm writing for Michael Jackson. I'd be a fool not to say it's a dream come true.
The writing process is not just putting down one page after another-it's a lot of writing and then rewriting, restructuring the story, changing the way things come together.
Then l learned to play guitar and l started writing songs and my mother formed for me a publishing business, so we started publishing and managing artists.
Good writing has an aliveness that keeps the reader reading from one paragraph to the next, and it's not a question of gimmicks to "personalize" the author.
You have to give your art everything you can - I don't mean only writing, but studying other poets and poetics, thinking, reading what poets have written other than their poetry.
Public art existed all along, but ecological art just naturally grew out of my thinking and writings in that area for years. I didn't get involved in it; I started what then became a movement.
The way this whole novel thing came together was, I sold them one bill of goods and then didn't communicate very well. I am like Captain Run-on Sentence.
With songwriting I spend a lot of time living life, accruing all these experiences, journaling, and then by the time I get to the studio I'm teeming with the drive to write.
By the time I was at college, I became very alert to the question of racial discrimination, and I remember one of my first writing attempts had to do with a lynching.
To write fiction, one needs a whole series of inspirations about people in an actual environment, and then a whole lot of work on the basis of those inspirations.
When I was in the gulag I would sometimes even write on stone walls. I used to write on scraps of paper, then I memorised the contents and destroyed the scraps.
What happens whenever we convert a writer into a symbol is that we lose the writer himself in all his indefeasible singularity, his particular inimitable genius.