The further you go in writing the more alone you are. Most of your best and oldest friends die. Others move away. You do not see them except rarely, but you write and have much the same contact with them as though you were together at the café in the old days. You exchange comic, sometimes cheerfully obscene and irresponsible letters, and it is almost as good as talking. But you are more alone because that is how you must work and the time to work is shorter all the time and if you waste it you feel you have committed a sin for which there is no forgiveness.
My music is very raw, it's emotional, and it's honest. I do my best to tell a story whenever I write music because I want to paint the most vivid picture that tells a story whether a person is falling in love for the first time or going through a painful heartbreak.
Experience of life (not of books) is the only capital usable in such a book as you have attempted; one can make no judicious use of this capital while it is new.
We postpone our literary work until we have more ripeness and skill to write, and we one day discover that our literary talent wasa youthful effervescence which we have now lost.
So we have a choice to make. We can once again let Washington's bad habits stand in the way of progress. Or we can pull together and say that in America, our destiny isn't written for us but by us. We can place good ideas ahead of old ideological battles, and a sense of purpose above the same narrow partisanship. We can act boldly to turn crisis into opportunity and, together, write the next great chapter in our history and meet the test of our time.
Often turn the stile [correct with care], if you expect to write anything worthy of being read twice.
[Lat., Saepe stilum vertas, iterum quae digna legi sint Scripturus.]
It seems the best work I do is when I am really allowing the unconscious to rule the page and then later I can go back and hack around and make sense of things.
For me, if the writing and - by extension - the subject matter and the characters are all good, it doesn't matter if it's film or TV. Each medium has great things going for it.
I need to tell the things that are important but which don't make sense in terms of the narrative, things that would destroy symmetry or narrative pace. This is my personal belief about what it means to write nonfiction.
Taking the question in general, I should say, in the case of many poets, that the most important thing for them to do ... is to write as little as possible
Despots play their part in the works of thinkers. Fettered words are terrible words. The writer doubles and trebles the power of his writing when a ruler imposes silence on the people. Something emerges from that enforced silence, a mysterious fullness which filters through and becomes steely in the thought.