Writing about real stuff that really concerned me brought out my craft. If you're writing a story about, 'Is Lois Lane gonna figure out that Superman is Clark Kent?' - it's really hard to get involved in that on anything other than a craft level. And I'm not gonna put down craftsmanship; it is a noble enough thing to have made a table that you can pound on and it doesn't fall down. But occasionally, we might have an assignment that engages some other parts of ourselves, and those tend to be the good stories.
I write really scathing, angry stuff when I'm in a better mood, and then uplifting and happy stuff when I'm at the absolute bottom.
I often wonder if all the writers who are alcoholics drink a lot because they aren't writing. It is not because they are writers that they are drinking, but because they are writers who are not writing.
Most of the basic material a writer works with is acquired before the age of fifteen.
When I write a film, there's a particular thing I am wrestling with and the question or concern I'm dealing with has to be big enough for me to dedicate a year or two of my life. If the question isn't big enough, or rich enough, I'll lose interest.
"Best in the world," "lowest price in existence, " etc are at best claiming the expected. But superlative of that sort are usually damaging. They suggestion looseness of expression, a tendency to exaggerate, a careless truth. They lead readers to discount all the statements that you make
We want to be famous as a writer, as a poet, as a painter, as a politician, as a singer, or what you will. Why? Because we really don't love what we are doing. If you loved to sing, or to paint, or to write poems, if you really loved it you would not be concerned with whether you are famous or not.
The thing that makes reading and writing suspect in the eyes of the market economy is that it's not corrupted.
Hemingway is terribly limited. His technique is good for short stories, for people who meet once in a bar very late at night, but do not enter into relations. But not for the novel.
Learning to exist in a world quite different from that which formed you is the condition, these days, of pursuing research you can on balance believe in and write sentences you can more or less live with.
Then I decided I would spend the summer writing a novel. That would fix a lot of people.
I also liked it when professors assigned us stories that they love. In general, I liked workshops more when they were more than just a workshop, when the professor took the time to actually guide us as young writers and teach us things it took them a long time to figure out on their own. I could probably write ten pages on this question.
The thing I respond to the most is just great writing, interesting characters. I like to think that there is something fun about playing a character that has a lot of authority in her own life.
My own view is simply that there are some very basic rules; very simple rules that apply to all writing in a way, which is: don't lie; if you're wrong, correct; do not misrepresent; and try and keep oneself intellectually honest - which means, as a writer, the very difficult task in public of admitting you were wrong.
I write compulsively. I've got so many ideas, and I love to do it so much, I can't not do it. I write the way some people do drugs.
You didn't plan to write a story; it just happened. Well, it could be argued that the next thing you should do is find a hole to dig. Right? So you start digging a hole and then somebody brings a body along and puts it in. That's what a story must feel like to me. It's not that you say, "I want to write a story about a gravedigger. " But you're walking along and "I don't know what I'm doing here in this story,' and - boop! a shovel. "Oh, interesting. Ok, what does one do with a shovel? Digs a hole. Why? I don't know yet. Dig the hole! Oh, look a body. "
I have turned away from the thought of writing fiction in the past through what I suppose is, actually, fear. The direct, raw invitation for the reader to come in and explore my imagination is fairly scary for me so I have busied myself with so much else.
I wish there were some photographic process by which one's mind could be struck off and transferred to that of the friend we wish to know it, without the medium of this confounded letter-writing!
I always tell people that if you gave me a pen and a piece of paper when I was a teenager and said, "Write out how you'd like your career to go," I would have probably short changed myself compared to what it's been for real. I'm just extremely excited about what I've accomplished.
Some writers find that they don't know their themes until they've finished the first draft (I am one). They then rewrite with an eye toward balancing on that tightrope: not too contrived, not too rambling; does what I'm saying about the world below me actually add up to anything? Other writers pay attention to these things as they write the first draft. Either way, an awareness of the macro and micro levels of theme can provide one more tool for thinking about what you should write, and how.
