People forget years and remember moments.
Because I don’t work with an outline, writing a story is like crossing a stream, now I’m on this rock, now I’m on this rock, now I’m on this rock.
Clichés so often befall vain people.
I don't write about things that I have the answers to or things that are very close to home. It just wouldn't be any adventure. It wouldn't have any vitality.
There is some reason, obviously, that you are drawn to your material, but the way in which you explore it might come to be quite different from what you would expect.
You have to figure out who the right person is to tell the story. And often, people who are very self-aware will only sound as if they are pontificating if they tell the story.
It seems to me that the problem with diaries, and the reason that most of them are so boring, is that every day we vacillate between examining our hangnails and speculating on cosmic order.
I don't even correct people when they mispronounce my name now.
Whatever one intends, the work takes on a life of its own.
Clouds are poems, and the most moving poems linger on the blackboard so long, written in cursive so lovely, they also exist inside our fingertips. We never really erase them at the end of the lesson.
Nobody can assume that, to a writer, everything is off-limits.
I think I write about things that are mysterious to me.
Also minimalism is a term that all of us who share so little in common and who are lumped together as minimalists are not terribly happy with.
While I would agree that I write about serious subjects, and that they're not necessarily the most pleasant subjects or even the most pleasant people, as a writer I just think about the humorous aspects of these things - that's what keeps me going when I'm writing a story.
I could name a few songs and say exactly what summer they came out and what boy I thought I was in love with when I was fourteen years old, but I think that music used to be really more a part of the culture when people went out dancing in a different way than they do now.
I think that I'm serious, but I don't think that I'm inordinately bleak.
I've spent my life supporting myself.
If you could have a book called My Favorite Six Stories, I don't think I'd have trouble doing that.
Much of what happens in Love Always is really from overheard conversations in the Russian Tea Room. It's an improvisation of the way certain Hollywood agents think and talk to each other.
Quite often my narrator or protagonist may be a man, but I'm not sure he's the more interesting character, or if the more complex character isn't the woman.
Italics provide a wonderful advantage: you see, right away, that the words are in a rush. When something exists at a slant, you can't help but consider irony.
the real killer was when you married the wrong person but had the right children.
It's not about having things figured out, or about communicating with other people, trying to make them understand what you understand. It's about a chicken dinner at a drive-in. A soft pillow. Things that don't need explaining.
Falling in Place was meant to be very much rooted in a place and time, and music was a part of that.
I think almost always that what gets me going with a story is the atmosphere, the visual imagery, and then I people it with characters, not the other way around.
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