I have written a memoir here and there, and that takes its own form of selfishness and courage. However, generally speaking, I have no interest in writing about my own life or intruding in the privacy of those around me.
Now the writing in the head, I definitely do every day, thinking about how I want to phrase something or how I'd like to rephrase something I've already written.
I think some period drama can be quite alienating, but 'Downton' isn't. This is going to sound quite, um, pretentious, but someone said that it's like a soap written by a poet.
Your senses are reeling all the time. Finally you find something to write and the very next day you go out and see something else which totally contradicts what you've written and every conclusion you've come to.
One of my real goals was to hear someone whistling a song I'd written.
I had read too many memoirs that were written after the writer or the director was past his or her prime.
Since I've written many of my books from a less-than-sympathetic viewpoint, I think that being able to see things from all sides is a useful talent.
The written word is the basic of everything. Most important, the idea, and after that, the dialogue. You can rehash the dialogue as you go along, it 's disgraceful to have to do this, but now and again you have no choice.
One novel that I think is an overriding influence in my life is 'All the King's Men,' the most beautiful book written in the U.S.
I have written a bunch of scripts that have not gotten produced, much more so early in my career than later.
I've written original material before, where I've come up with the idea and the characters myself, and that's definitely very different to working with someone else's characters and stories.
I've written what and when I want to. It's been about expressing myself. But with the degree, I had to learn to do everything in a very specific, disciplined way. I am very disciplined, but this demanded a totally different kind of discipline. A real challenge.
I've had the same, full-time assistant and typist for eight or nine years now. She's read everything I've written, she types everything and does a good job, translates it and makes comments.
I have written a few children's books. The first book that I wrote was for children. It was called "The Package", and it was a mystery story in pictures. It had no words.
Once you've invested hundreds of hours in creating a coherent universe, your story's grown to around a half-million words and can't be written as anything less than a trilogy.
There is a lot of rubbish written about toilet humour - people saying it is childish and pretending it is beneath them - but there is no doubting the effectiveness of a really good willy gag.
When you are out of favor, so to speak, it's not just the reviewers. It's the editors, the publishers, they don't want you anymore, you're just gone and you've been written out of history as effectively as the old Stalinists would write someone else out, take their photograph out of a book.
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.
If I feel like it's a well-written script and if it speaks to me, it's something I want to do. I usually rely on my instincts when it comes to a script.
Your words have come true with a vengeance that I shd [should] be forestalled ... I never saw a more striking coincidence. If Wallace had my M.S. sketch written out in 1842 he could not have made a better short abstract! Even his terms now stand as Heads of my Chapters.
One word after another. That's the only way that novels get written and, short of elves coming in the night and turning your jumbled notes into Chapter Nine, it's the only way to do it. So keep on keeping on. Write another word and then another.
I've written songs about things that nobody else has ever written about.
We just kind of relied on written scouting reports through the eighties and even the early nineties. I've really been amazed by some of the data that's out there, especially with regards to tendencies of hitters, and certainly tendencies of pitchers as well. I would have loved to have gotten that data when I played.
Virginia Woolf came along in the early part of the century and essentially said through her writing, yes, big books can be written about the traditional big subjects. There is war. There is the search for God. These are all very important things.
You have started the book with this bubble over your head that contains a cathedral full of fire - that contains a novel so vast and great and penetrating and bright and dark that it will put all other novels ever written to shame. And then, as you get towards the end, you begin to realise, no, it's just this book.
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