I discovered the writing of Kirsty Eagar and was blown away. Everyone needs to read her now.
I'm sure other writers have no difficulties writing nice.
I won't forget those kind of things, but I just want to write them down and look at them. It's almost like when things like music come out and you're listening to a song and you have experiences with art or phenomena that supersede your simple relationship with them as just a piece of art. They're more than that. That's just what those quote are for me. They're big, they're important.
When you write a song about a place, you are writing a song about a place that might be in a hundred years, or a place that has been, or that was - in your imagination. I think that also embodies the American spirit. You are looking for what you can call "a place."
I want to be able to write on my walls. I think that's the big thing.
I've always written. When I was in school, the only teacher who ever liked me was my creative writing teacher. I used to enter poetry competitions, and I don't think I ever lost one. So I had the idea for a while of being some kind of poet.
I don't think I have any right to say I belong to that [Woody Guthrie/Bob Dylan tradition]. I think that's something that eventually maybe you get inducted into. I'm just experimenting.
You have to live what you write, or you have to know it. There are exceptions, like story songs, where you just have to have your facts straight. But I think you don't have to live a hard life to be a good or interesting songwriter.
I've never been good at rock'n'roll songs, anyway; either I'm blessed or I'm cursed, but whatever I write comes out sounding old.
I just feel like there's something to be said about feeling comfortable with what you have and don't have. And - for instance, I don't think I'm particularly a great singer, but I feel like I write songs that complement my voice, you know, and I feel like it's unique. And I don't feel like I'm particularly a great actor, for instance, but I feel like I approach each thing that I do with some level of sensitivity. And I would say that comedy in general is the most disarming.
I feel more comfortable writing firmly comedic or slightly comedic stuff.
What you want to do is talk about ideas, you write a novel, you have a lecture about those ideas. Satire and comedy are really the only film mediums where you can get into ideas and have people leave the theater without being moralized.
I love films from all these different points of views that used the idea of the school as a way to talk about the American experience. It took me a while to figure how to write a movie like that, because that's not something you learn at film school
It's not that I write songs that are easy to get but I don't think there's a lesson that I'm trying to teach in any of my songs. There's not a moral at the end of it.
I guess songwriting has become a little more difficult for me over the years or maybe I regard it in a different light because I'm a little more critical of the songs that I write, so I take my time with them, which means I don't sit down and overly struggle with a song or overwork it.
I see my writing happening more naturally. Just to relax into it and capture all of the good stuff in a calm and connected fashion.
I used to write songs that mimicked other songs that I would hear as a kid, cos I was 12 years old when I was writing those, right. And you hear a radio so all I'd write about was [sings] "hey girl, look at you", you know what I mean. I think that even doing that made it easier for me to write non-personal songs because, from a kid, I never wrote personal songs, they were always like mimicking. And now I'm just trying to understand my writing and where it's coming from.
There is no definitive guidebook on how to pick the right partner, and even if there were, I'm way too dumb to write it.
One of the traps or the pitfalls of writing a trilogy - or a triptych, or whatever term you want to use - is that the second book can be a long second act to get you from book one to book three, which borrows all of its energy from the first book.
You learn to write by reading, and my experiences and tastes as a reader are pretty wide.
One thing that worried me was how writers get categorized and so they end up having to write the same kind of book again and again. That is fine if it is what you want to do, but I would rather be locked in the trunk of my car with a weasel than write the same book every three years until I die.
I'm a workmanlike writer. I show up every day and treat it like a job. The old rule that writing is like any other job, the first rule is that you must show up. I'm at the keyboard from 9 to 4 every day.
I tend to start at 9 o'clock in the morning and write until 3. Those are my best hours. They fit the other rhythms of the world. So I write for six hours, pretty much without any breaks.
If you write a good action sequence well in a novel, you're already writing it for film, because the only way to do it well is to use some of the same tricks. They're rhetorical, not visual, but it's the same move.
Writing is a job: you must show up.
