Writing Quotes - Page 715

When I write I don't aim to shock people, and I'm surprised when I do. But I don't think that anything that occurs in life should be omitted from art, though the artist should present it in a fashion that is artistic and not ugly. I set out to tell the truth. And sometimes the truth is shocking.

I talk out the lines as I write them.

For purposes of marketing, writers are designated as poets, novelists, or something else. But writing is about matchmaking, an attempt to marry sensations with apt words.

Joyce's writing in Dubliners contains some of the most unshowily beautiful sentences in the English language. I learned from him that if you write a good, clean line of English, you can get under a reader's skin. The reader won't even know why, but there you are. Didion, Berger, the many others I mentioned above, and many, many poets I haven't mentioned. Writers of this calibre are the moving targets the rest of us are always chasing.

Not explicitly, no. Compared to this enormous, relentless evolutionary activity in the built environment, writing is small potatoes.

They told me that they are starting a classic label, and wanted me to be the first artist. So I signed, and am producing myself, and writing my own music, but I'm their first artist on their classic label. And I have creative control.

I've never gone through the paces that writing textbooks sometimes recommend, such as writing out a character's biography, or determining what his favorite food is, or most traumatic memory, etc. - that's always seemed like a fraudulent way of assembling a fictional person.

For each of my novels, I've had something of a eureka moment of deciding what world I want to set it in - Wall Street, the pop-music industry, Harvard - and what the very vague contours of the narrative might be (which typically get changed a lot through the writing process).

I write the books I want to read. I'm interested in seeing what happens with this book in the marketplace.

I remember writing 'The One I Can't Have' at the kitchen table. I was looking at a picture of Truman Capote with Marilyn Monroe and that's where I started. It doesn't make any sense because he was gay, but it was just the idea of the short guy and the beautiful blonde out of his league. That's where I started, but very quickly it became about me.

I wish it had been something as sexy as the old Joey Tribbiani, falling-down-an-elevator shaft. But no. It just faded out. I wasn't related to anybody or anybody's lost, amnesiac lovechild in One Life to Live. They just didn't have room for me, so it was a slow fade. I remember feeling the writing on the wall: "This is not going to end well for me."

It was okay for people to write negative things about me just as long as they spelled my name right.

I have no interest in writing, directing or producing.

I would like to fire every cop in America and start from scratch. We don't need as many of them, and the whole model of policing is completely off the rails. For the most part, the police are engaged in very little protection of the public. That's probably 5 percent of what they do. The rest of it is writing tickets.

For an ordinary citizen, what is the common interaction you have with a police officer? When they pull you over for speeding, or when they write you a ticket for parking. The rest of the time is patrolling minority neighborhoods like an occupying army. It's suppression of blacks, and it's revenue enhancement. Surveillance is a Band-Aid. That's like saying, "Let's surveil the SS." No! Let's get rid of the SS!

I am always writing music. I have got unlimited ideas because I have been clean and sober for my entire life.

I write incessantly, I'm very productive, I write for a dozen publications and blogs and websites. A lot of very hardcore political stuff. I write a weekly feature. I express myself. But when time comes to make music [with the] same absolutely unleashing of total honesty zero inhibitions, it just flows like a stream of conscientiousness because I will not be silenced no matter what my point might be.

I will write with honesty and feeling.

When I get into the moment of actually feeling like I want to write, to finish something, I do what I've always read authors do, and park myself at a desk and bang things out for three hours. And if I have to throw it all away, I throw it all away.

I try to be realistic with students. And say that there's a good chance that they're not going to get a creative writing teaching job, that there aren't enough jobs to go around and the university faculties are cutting back on staff and that they may have to get some other kind of work. None of them wants to hear that, but it is true and I think I'm a good example for them of somebody who took the other route.

For a while the creative writing community sort of sprung out of places like Iowa and Syracuse. The graduates sort of went out, and they would found creative writing departments in the little colleges where they went, and then some of those would found other ones. I mean every college has got a creative writing department, so where are the jobs coming from? There are not any jobs out there.

My colleagues knew I was writing poems. I never hid it from them. I don't think they ever thought I was cheating on them. So, I think they probably saw it as being rather peculiar, that I was doing that sort of thing, but nobody ever suggested I shouldn't be doing it. I think that would be different on Madison Avenue or Wall Street, where you're really expected to be doing 110 percent for the company.

Wallace Stevens had more time to write as an insurance agent. He was a bond lawyer and I know that insurance company lawyers don't have to do nearly as much as we had to do. We were out more in the production area. I'm not condemning Stevens for having had a better job than I did, but that's one of the many places where I differ from him.

If you look at the Directory of American Poets and Writers, you know there are hundreds of poets in New York City. So therefore, just by specific gravity, it seems like a more significant place. Robert Wrigley is a poet who lives in rural Idaho - I think it's really back-country Idaho - and he writes beautiful poems.

When I was a kid, I suppose I got more praise for being able to draw things and paint things than I did for my little amateur poems I was writing. But the thing that I'm trying to do with my painting is that I'm trying to keep it in the realm of pleasure. I don't show my work, I don't try to sell it.