A literary critic is someone who can't write, but who loves to show he would have been a wonderful writer if only he could!
I write about moments, and I don't make blanket statements about anything because no one has all the answers; nobody's come up with a foolproof way to do anything when it comes to emotions.
When I go into a pitch room and I'm pitching something with a writing partner, everybody tends to look at the guy, even if I'm doing a lot of the talking.
I know a lot of artists say this, but it's hard to put myself in a box. I just write songs that I strongly believe in and that are coming form a special place. There's no tricks.
Reading, like writing, is a creative act. If readers only bring a narrow range of themselves to the book, then they'll only see their narrow range reflected in it.
It makes me feel wonderful that people still care for me... that I have so many fans among young people, who write to me and tell me I have been an inspiration.
Even those who write against fame wish for the fame of having written well, and those who read their works desire the fame of having read them.
As far as modern writing is concerned, it is rarely rewarding to translate it, although it might be easy. Translation is very much like copying paintings.
If we can write or sing or create in some way, even when we are dealing with difficulties or pain, then it becomes something bigger than ourselves — and often beautiful.
I start with an idea that is no more than a paragraph long, and expand it slowly into an outline. But I'm always surprised by the directions things take when I actually start writing.
Writing 'Schottenfreude' has reinforced the fact that there are few, if any, emotions that have not been experienced, and analyzed, by some of the world's greatest writers.
Yeah, I record on voice memos. I got like 1,000-something memos. If I'm in the middle of something and I can't get it done, I'll jot it down, but I never write a rap out, ever.
If you can read the book and say, ‘Space Marines, YEEEAAAHHH!’ That’s Military Science Fiction.” (Brigham Young writing lecture, March 2012)
Acting is playing - it's actually going out on a playground with the other kids and being in the game, and I need that. Writing satisfies that part of myself that longs to sit in my room and dream.
Even if I knew for certain that I would never have anything published again, and would never make another cent from it, I would still keep on writing.
My works really begin in a very simple way. Sometimes it's an image, and sometimes it's words I might write, like a fragment of a poem.
I never liked working on editorial-driven comics. I just didn't see what was the point. They don't pay well enough for me to write other people's ideas.
Whatever you do, make sure you want to write more than you want to be a writer. Make sure you want to act more than you want to be an actor. That is what will sustain you.
I think I need the demons in order to write, but the demons have gone. It bothers me a lot. I've tried and tried, but I just can't seem to find a melody.
I never write in a linear way. And I tell students not to. You can only know so much about a book when you first start.
Americans think African writers will write about the exotic, about wildlife, poverty, maybe AIDS. They come to Africa and African books with certain expectations.
