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I think if you feel like you were born to write, then you probably were.
I think if you are writing an instrumental you are dealing with more of an aesthetic in a sense but a lyric is more of a putting yourself on the line and a much more expensive exercise.
Drama, instead of telling us the whole of a man's life, must place him in such a situation, tie such a knot, that when it is untied, the whole man is visible.
Even experimental composers, revolutionary composers, self-styled radicals are, in writing revolutionary music, recognizing the music that preceded them precisely by trying to avoid it.
The writing is all done, so it's all about verbalizing everything from point A to point B, and certainly there's a bit of politics involved, so it's a different thing.
Asking the author of historical novels to teach you about history is like expecting the composer of a melody to provide answers about radio transmission.
Being a mother has absolutely forced me. You have to write things down and have systems for all of it. And then you set up systems and you realize they don't work.
I have experienced healing through other writers' poetry, but there's no way I can sit down to write in the hope a poem will have healing potential. If I do, I'll write a bad poem.
It is a good thing to write for the amusement of the public, but it is a far higher and nobler thing to write for their instruction, their profit, their actual and tangible benefit.
All the time I'm not writing I feel like a criminal. It's horrible to feel felonious every second of the day. It's much more relaxing to actually write.
Every serious novel is, beyond its immediate thematic preoccupations, a discussion of the craft, a conquest of the form, a conflict with its difficulties and a pursuit of its felicities and beauty.
Life is painful and disappointing. It is useless, therefore, to write new realistic novels. We generally know where we stand in relation to reality and don’t care to know any more.