Lead Cop: What the hell do you call that? Albrecht: I call it blood, detective. I suppose you'll write it up as "graffiti".
John Dunbar: [writing in his diary] If it wasn't for my companion, I believe I'd be having the time of my life.
Jack: I don't know about you, but I intend to write a strongly worded letter to the White Star Line about all of this.
I should write a musical. That is probably one of the final areas that I should pay attention to, because it does kind of involve everything. It's got theatre, it's got young, pretty people... And it's got money!
I studied philosophy, religious studies, and English. My training was writing four full-length novels and hiring an editor to tear them apart. I had enough money to do that, and then rewriting and rewriting and rewriting.
And inasmuch as the bridge is a symbol of all such poetry as I am interested in writing it is my present fancy that a year from now I'll be more contented working in an office than ever before.
I also don't have organized religion on Pern. I figured - since there were four holy wars going on at the time of writing - that religion was one problem Pern didn't need.
I always try to write from memory, and I always try to use memory as an editor. So when I'm thinking of something like a relationship or whatever, then I'm letting my memory tell me what the important things were.
I knew I could write infinitely about relationships. That's the most beautiful, most confusing, most rewarding, most heartbreaking thing in our lives - and not just romantic relationships: that's all relationships.
I took classes taught by an elderly woman who wrote children's stories. She was polite about the science fiction and fantasy that I kept handing in, but she finally asked in exasperation, 'Can't you write anything normal?'
I'd love to have another film to go on to. I'm in the mood to work. But I have to be patient, you know, to find that particular kind of project. Occasionally I'll write one myself if I can summon up the energy.
I'm a songwriter; that's where it starts. I love writing with someone that shares that same feeling of accomplishment. I'll play music for my fans as long as they'll listen, but I fancy myself as a writer first.
I think that's what I love about writing, is the ability to try to, in a sense, take a vacation from yourself and try to enter the sensibility of another time, another character, another place.
Both back when I was acting and now that I'm writing, I've always wanted the same thing out of my career: to be able to get up in the morning and do what I love doing.
I'm writing what comes into my head, or through me, or from somewhere else, and it is the most extraordinary, exciting thing. I love it, and I'm very greedy, and I really enjoy it!
People ask me all the time which I would prefer doing more, but I honestly can't say. When I'm filming, I'm like, 'No, this is my favorite,' and when I'm writing music and recording and performing, it's like, 'This is definitely it.'
I remember Tim telling me that he had an idea for a musical and he said to me that he was hoping that ABBA would be writing the music, which I thought was a pretty wild idea because they were obviously known very much as pop writers.
I would like to think that Ben and myself have begun a partnership that will take us into different areas of music that we can continue to write, enjoy and keep me involved with music other then what I do with RUSH.
When I first started to get into writing, it was via music. I'd generate ideas for songs that would turn into stories, then they'd turn into novels. I was biased toward music.
My brother has a tendency to get quite lyrical when he writes music; he gets so romantic, it's borderline. I make it slightly more aggressive. I make the round corner a bit sharper.
The painter paints, the musician makes music, the novelist writes novels. But I believe that we all have some influence, not because of the fact that one is an artist, but because we are citizens.
