I've written probably over 200 songs that have a verse and a chorus and that's it.
I haven't been the kind of writer about whom book-length academic studies have been written.
Of course a politician's promise isn't worth the paper it's written on.
I've written something and I would like to have my first film directed by the time I'm 30.
I took the first James Kelman novel, 'The Bus Conductor Hines', home to my dad. I thought, 'My dad will like this; it's written in Scots.' But my dad said: 'I can't read that.' He was reading James Bond and John le Carre. That was part of what attracted me to crime - the idea of getting a wide audience.
I sit down and draw from my lyric book. I sit down and start looking through it and see if there is anything that strikes me that I've written.
I've given some money to the scholarships in the District of Columbia, to the best students in D.C... many of the students have written me letters telling me they could not have afforded to go to college without the scholarship and money I've given them.
I haven't written my memoirs or let the television movie be made about my life.
I don't think anyone has written a great graphic novel.
I liked to think I had written 'scripts' when I was in high school, but looking back at them, they were about thirty pages of wannabe-Mamet dialogue with a staple through them.
Every pilot I've ever written, I've fallen deeply and madly in love with. It's the only way I work.
There isn't a lot written about the motorcycle culture.
There's so many great songs already written, it's kind of really wonderful you don't have to write your own.
Novels are written, not wished into existence. You have to sit your ass in the chair or nothing gets done.
Dialogue that is written in dialect is very tiring to read. If you can do it brilliantly, fine. If other writers read your work and rave about your use of dialect, go for it. But be positive that you do it well, because otherwise it is a lot of work to read short stories or novels that are written in dialect. It makes our necks feel funny.
It can take years. With the first draft, I just write everything. With the second draft, it becomes so depressing for me, because I realize that I was fooled into thinking I'd written the story. I hadn't-I had just typed for a long time. So then I have to carve out a story from the 25 or so pages. It's in there somewhere-but I have to find it. I'll then write a third, fourth, and fifth draft, and so on.
We wanted to describe society from our left point of view. Per had written political books, but they'd only sold 300 copies. We realised that people read crime and through the stories we could show the reader that under the official image of welfare-state Sweden there was another layer of poverty, criminality and brutality.
I checked to see if there’d been a really good book published in the last few decades. Then I started with what Cleopatra would have read, asking myself, “What can we know about her education?” It turns out to be a very great deal, and bizarrely, no one had written about that before.
I've never written a play before, and I'll never write one again. You can quote me.
I've written about 15 screenplays and they all sold - they were all sold on pitches.
A reader is not supposed to be aware that someone's written the story. He's supposed to be completely immersed, submerged in the environment.
People recognize certain things, like 'D' means 'this dialogue stinks.' We're dealing with shows that are written here, shot in New York and posted back here. Accurate communication is a necessity.
Every kind of book I've written has been written in a different way. There has not been any set time for writing, any set way, I haven't re-invented the process every time but I almost have.
The musicians recommend that I sing a sing the way it is written the first time and then start to look for other notes that aren't in the melody.
Most of the press is sent to my publicist so I do see most of what is written about me.
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