The stupidest thing that a writer can do is write a memoir I think, unless it's right before you die -- maybe.
I'm used to writing stories with a beginning a middle and an end in four minutes.
I still write more songs about girls than anything else.
I wasn't raised to not write about issues, and I'm just living in really politically charged times. You know, I'd rather write songs about girls, but it's just hard to do right now.
When I write something simple I'm always really proud of it. When you write something that simple with that much air in it and the whole premise behind it is something pretty obvious - that everybody wants to be happy and free - the song is sort of an exercise in not forgetting that's what you really want and what you really need. We can get caught up in a lot of other stuff.
The nature of the writing and the nature of the animation meant that it had to be short.
E-mail also changed things in that you don't have to write a full document to discuss something. You can just send an e-mail to a list.
I am not a politician going around bragging about family values or putting myself on some ridiculous virtuous pedestal. I write comedy. And I am an actor. I am not going to solve the nation's problems. I don't actually spend my life in the way the tabloids like to think I do. I actually spend 95 percent of it writing comedy. Sober. Well, nearly sober anyway.
I use improvisation as a writing tool to help produce material that goes into a script, but a well-crafted script shouldn't sound scripted, and oftentimes people confuse something that looks like improvisation for what is actually a very well-written script that is well-acted.
When I first started looking at Twitter, I followed people like Steve Martin, who will just write the funniest non sequiturs now and then, which I thought was really fun. That's kind of the road I've taken. Every now and then, something comes into your mind and you put it out there. It's very innocuous. I think it's kind of fun.
I never had any master plan about directing, and I don't really write.
Before computers were everywhere I used record books, the old-fashioned way. I loved to cram, and I still love to cram, anything I write with extra facts, stuff I picked up. At the same time, especially in this day and age, you've got to make it sound like, or read like, you've not just been Googling because that's not fair, that's not right!
I'm a morning person because I learned to write my novels while still practicing law. I would get to the office at 6:30 a.m. and write until other people arrived, around 9. Now I still do that. I start at 6:30 or 7, and I'll write until 11, then take an hour off, then work until about 2 p.m. By then my brain has had enough.
Ninety-five percent of all writers who write do not get published, but 100 percent of all writers write because they have a voice in their head. The vast majority of writers simply write because they have to.
A plane is a guilty pleasure. I have one. It's a great luxury. I appreciate it. I couldn't do what I do. It's not something you can write down as anything other than, "Wow, I can't believe I have this and I'm absolutely spoiled and entitled." On the other hand, I have one and I use it.
Only our company and a handful of others are poised to write the future.
From space this Earth is incandescent with abominations - the gods write their signature in our entrails
I've been involved in burlesque for a really long time and I've always been really interested in burlesque, and I was writing musicals for different studios.
I've felt pressure to produce long fiction for as long as I've been writing fiction. There's just an incredible bias in the publishing industry toward novels and away from short stories. They're seen as D.O.A. in the marketplace, which seems nuts to me, given that various collections done smashingly and deservedly well in economic terms.
I want to view my own efforts to write a novel as a function of my own artistic aspirations rather than a good career move. And I need to learn how to commit to characters for a longer time, to confront the limits of my own capacities for attention and compassion. That's what a writing career does, in the best instance: it allows you to keep after what you can't do.
When you're younger and a little more innocent, you write whatever [lyrics] comes naturally. But as you get used to writing you try to steer the sound and music to different music and throwing in the "kitchen sink" of sorts into the music. With that way, you end up putting in much more than before and you could even make much more next time around.
Planning is the mother of almost every other ability. Make your plan and set a timetable for its accomplishment in writing.
Yeah, except that when I write pop songs I have pretty strict constraints that I impose on myself. 69 Love Songs is a constraint. That the titles have to begin with "I'"s is a relatively strict constraint. Charm of the Highway Strip is all travel songs. And I am free to change the plot slightly to accommodate something that happens to rhyme conveniently.
There's already a great deal to do writing the songs. And if I were completely in control of it, nobody would be able to say "this song doesn't work."
If you want to write a love song, you need to not try to write it for a particular person in a particular situation. It needs to be vague, otherwise you're going to fall into trap after trap of trying to rhyme with somebody's name. Keep it vague.
