One of the pitfalls of writing about illness is that it is very easy to imagine people with cancer as either these wise, beyond-their-years creatures or else these sad-eyed, tragic people. And the truth is people living with cancer are very much like...
Mathilda: I am writing here the name of a girl in the class who makes me sick. If things get hot, she'll take the heat.
Pi Patel: [writing on the lifeboat] Words are all I have left to hang on to. Everything's all mixed up, fragmented, can't tell daydreams, nightdreams from reality anymore.
Frank: [reading what Dwayne is writing on his notepad] But. I. Am. Not. Going. To. Have. Any. Fun. Frank: Yeah, we're all with ya on that one, Dwayne.
Christian: Then I'll write a song and we'll put it in the show and whenever you sing it or hear it. Or whistle or hum it then you'll know. It'll mean that we love one another.
[first lines] Barbara Covett: [voiceover of Barbara writing in her diary] People trust me with their secrets. But who do I trust with mine? You, only you.
Joe Gillis: [Joe is reading Norma's script] Sometimes it's interesting to see just how bad bad writing can be. This promised to go the limit.
Wallace Wells: Look, I didn't write the gay handbook. If you got a problem with it, take it up with Liberace's ghost.
Jin-tae: [tears up the last will that Jin-seok was writing] Wills are for dying people. You've got to be strong.
When I was writing 'Withnail,' I was so busted flat that I had one lightbulb that I would carry around the house with me. I mean, really. No furniture, no money, and I was hoping to be an actor, but I could never get a job.
Even the people who have had success and made money writing these books of fiction seem to feel the need to pretend it's no big deal, or part of a natural progression from poetry to fiction, but often it's really just about the money, the perceived p...
When I started, I was pretty sure I was going to be writing some goofy little wizard novels that might make me some part-time money and would hopefully lead to something I could do better.
Second, we're spending a huge amount of money on technology so that everyone can check out laptops and portable phones. We're spending more money to write our existing information into databases or onto CD-ROM.
As I said, I had no publisher for What a Carve Up! while I was writing it, so all we had to live off was my wife's money and little bits I was picking up for journalism.
My wife gave me a year to start making money out of writing, and after six months, I'd made not a bean. Suddenly, the books took off, and the beans started coming in!
Even at my biggest, I want to be writing for other artists. Even at my peak - the highest I can be as an artist - I always want to be keeping my creative juices flowing, keeping money in the bank, putting my intellectual property out there.
If Barbra Steisand wants to make a picture called 'My Pink Fingernail,' the studios will go, 'Gee, Barbra, what a wonderful idea! Money is no object! Take two years in preproduction and write the music, and you'll direct.'
As a screenwriter, there's so many layers you have to go through in order to tell your story. You have to write the script, get money for the script, shoot it, find distributors, make it into film festivals, all of that just to get to your audience.
I didn't do a masters in creative writing until I was 26, which is quite old, and then I found myself in New York and I needed money, so I started working full time as an editor.
'American Playhouse' is very supportive of writers. That's really why writers like to write for 'American Playhouse' for very little money. They care about making your play, your script, not some network production. We're treated like playwrights, no...
Money is an unavoidable consequence, but it isn't the reason I write; if it was, I wouldn't have written any of the YA books, because advances in that field are small compared to what I'd got now for an 'adult' DW.
