There's always stuff to write about. So it's very gratifying on a lot of levels. This is stuff I got asked over and over again, or heard about. People would ask me about it, but they kind of knew the answer. It would be this ongoing question: "Your fans are wondering, now that you're married, are you still going to be able to write songs?" I'm serious! I would get asked that!
I've had trouble being in relationships and writing. This has been a real problem for me. I don't know if it's because I'm not free to fantasize or create these fantasy things about other people
I'm always writing ideas down and then I stick em in my pocket and put em in that folder so I don't lose them. Like, somebody might say something, and I'll go, oh that's a good line, and that goes in the folder, too. It's kind of an ongoing process for me.
I started writing more with my voice in mind.
I started writing songs, I guess, when I was about 13 or 14, but I didn't know if they were good enough yet or anything.
I write first for myself as a therapeutic process, to get stuff out and to deal with it.
I usually don't write about my life right when it happens. I process it, and I store it away. Then, when I get in the mood I pull the stuff back out.
I don't keep a journal anymore. I did when I was a teenager, but now because I write about it all in my songs, that's what I'm really doing.
People seemed to think, you get to a certain age or you get married or you, you're comfortable. And so now there's nothing to write about: that angst is gone. The youthful angst. And that just hasn't happened with me.
There's this whole idea that you've got the blues and you're going to write. Bullshit. When I feel really bad, all I want to do is sit in front of the TV with the remote control and check out.
Sometimes I dream song ideas. I write a song in my dream, the melody and everything. But then sometimes I can't remember them. I think later on, I probably do.
I write the songs, go in and record them, then I listen to everything and decide how it all fits together.
It's easier to write songs when you're single.
You can't be afraid to deal with your demons. You've got to go there to be able to write.
I'd always loved the theater, and I began by writing plays. I work in the theater a lot in the UK, and I've worked in the theater out here quite a bit. Everything else - the films - followed as a consequence of that.
When I started writing the script I thought that maybe someone else would direct it, but then I started to fall for it so much that I left the other project and I put all my time on The German Doctor.
When I wrote Wakolda at first I wasn't conscious that I was writing about something so close to or that had so many similar elements with XXY. It was just after I was done writing that I noticed it. I think both teenagers in each film have many similarities, and Mengele is the extreme version of the plastic surgeon in XXY. Both stories definitely have several ideas connecting them.
Working on 'Raising Hope' is a very hurry-up-and-wait activity, and I just always liked the idea of being as productive as I can be. I write because I don't just want that time to dissolve, where I'm sitting in a trailer staring blankly at the paintings of moccasins that came with the trailer.
After writing anything, there's always that postpartum feeling of, "What do I do now?" - I think particularly for nonfiction writers. I feel myself pulled back to the same themes, sometimes even the same moments, and I'm not sure that I want that.
Walter Benjamin talks about art losing its original "aura" in an age of mechanical reproduction. In writing memoir, we're taking something that happened in a particular moment and meant something at that time, and we're trying to capture it to mass reproduce it for readers. So of course something is lost. And when we edit that material, we're getting even further from that aura, but toward something else that is potentially vital.
Lately I've been thinking about the idea that all novels are, at least in some way, about the process of writing a novel - that the construction of the book and the lineage of people constructing novels are always part of the story the author is telling. I think the equivalent for memoir should be that all memoirs are, in some way, about the process of memory. Memoirs are made out of a confusing, flawed act of creation.
That idea of not being exactly who you write as is so crucial. Even looking at those words as I type them, it feels dirty, it feels like I'm admitting something. Unfortunately, I think that's how the conversation around nonfiction is so much of the time - either defensive or accusatory. Aha! You've been caught! But the original essence of something is always lost when it's reproduced.
Hannah writes of love with compassion and conviction.
I have my writing therapy. For me, writing and friends therapy is an internal journey where you go in deep, you reflect, you try to heal your inner child. But as an activist, there's the outward, going wide therapy, where you get to realize at a certain point that talking about yourself gets boring. And it's also unhealthy to be so much into yourself. At some point, you have got to be able to look at the issue and say, "It's not about you. It's about a culture, a people, a nation, a family."
I get to be creative and to write: two of my favorite things.
