I contend that in the kind of nonfiction I write, and that other people also pursue, anything is permissible provided the reader knows what you're taking liberties with.
The first thing you have to know about writing is that it is something you must do everyday. There are two reasons for this rule: Getting the work done and connecting with your unconscious mind.
If you can tell stories, create characters, devise incidents, and have sincerity and passion, it doesn't matter a damn how you write.
Occasionally I write a small piece or the odd lecture in English, and I teach in English, but my fiction is always written in German.
Vigorous writing is concise. A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts.
As for critical writing about modernism, its moments of lucidity are but fulgurations illuminating the dark and incomprehensible landscape of its subject's unabashed difficulty.
Without the dreamers who write science fiction and other imaginary material we'd still be sitting in caves ... if we weren't already extinct.
This will surprise some of your readers, but my primary interest is not with computer security. I am primarily interested in writing software that works as intended.
Many of the critics today get airline tickets, hotel accommodation, bags, beautiful photographs, gifts and other expenses paid by the distributors, and then are supposed to write serious articles about the movie.
Ah, faerics, dancing under the moon, A Druid land, a Druid tune! While still I may, I write for you The love I lived, the dream I knew.
Not everybody has a talent for painting, or for the piano, or for dance. But we can write our way into the artist's head and into his problems and solutions. Or we can go there with another writer.
Why do I write books? Why do I think? Why should I be passionate? Because things could be different, they could be made better.
Sometimes I feel that the people I'm writing are more real to me than the people around me. When you take that imaginative leap, you're living so much in that world.
Writing-wise, I like to have a lot of things on the burners at once, because when I hit a wall, I like to move on to the thing I haven't hit a wall on.
I know a lot about writing, but I don't know much about how other industries work. I've tried to use my naivety to my advantage.
I want to write more books, see my first novel made into a film, fight more campaigns, work in more countries. I want to be able to recall experiences that have endured for their pleasure and range and intensity.
Writing on the blog, you want to get attention and make strong claims. In academic work, that often doesn't pay, so sometimes it's a little bit difficult going back and forth to navigate these differences.
I write R-rated action dramas, and every year that goes by, that gets to be a smaller and smaller world you have to work in. You have to think of how to get the studio excited and sell them something.
I have no writing habit. I work when I feel like it, and I work when I have to - mostly the latter.
But we wanted to work in a way we never had, which was write everything together. We had to face each other in the same creative room, which gets tougher as you get older, because you don't want to be confrontational.
There is no living African writer who has not had to, or will not have to, contend with Achebe's work. We are either resisting him - stylistically, politically, or culturally - or we are writing toward him.
