Once I had all the facts in, I found I didn't have the immoral courage to pull the caper. So I wrote it as a story. As a teenager, I didn't have any skills for writing as such, so it came out in 1500 words.
My traducers propound my alleged malefaction as though I have spewed venom on women for half a century. But only a madman would go to the trouble of writing 31 books in order to affirm his hatred.
Since my first encounter with Kafka's writing, I've been interested in a quality that, while he was alive, stood in the way of his achieving a large reputation: his allegory.
Writing is the hardest way of earning a living, with the possible exception of wrestling alligators.
It would be so simple to allow children, when tired of sitting, to rise, and when tired of writing, to desist, and then their bones would not be twisted.
There should be a law that no ordinary newspaper should be allowed to write about art. The harm they do by their foolish and random writing it would be impossible to overestimate - not to the artist, but to the public, blinding them to all but harming the artist not at all.
Fiction writing is great. You can make up almost anything.
There is a triple layer of jargon when writing about climate change. You have the scientists, who are very cautious now because of the amount of climate denial. Then you have the U.N. jargon - I had to carry around a glossary of terms. It was like an alphabet soup.
This is not writing at all. Indeed, I could say that Shakespeare surpasses literature altogether, if I knew what I meant.
I look for ambiguity when I'm writing because life is ambiguous.
Among all kinds of Writing, there is none in which Authors are more apt to miscarry than in Works of Humour, as there is none in which they are more ambitious to excel.
I may write about place and displacement, but what I'm really writing about is dispersion, evasion, ambivalence: not so much a subject as a move in everything I write.
The ambivalence of writing is such that it can be considered both an act and an interpretive process that follows after an act with which it cannot coincide. As such, it both affirms and denies its own nature.
The main differences between contemporary English and American literature is that the baleful pseudo-professionalism imparted by all those crap M.F.A. writing programs has yet to settle like a miasma of standardization on the English literary scene. But it's beginning to happen.
Sixty percent of all Indians live in urban areas, but nobody's writing about them. They're really an underrepresented population, and the ironic thing is very, very few of those we call Native American writers actually grew up on reservations, and yet most of their work is about reservations.
Fear is the major cargo that American writers must stow away when the writing life calls them into carefully chosen ranks.
Often I had to imagine the things I needed. I learned very early to read amidst noise. And so I started writing and drawing at an early age.
When I'm writing something, I try not to get analytical about it as I'm doing it, as I'm writing it.
Writing lyrics is part spontaneous, intuitive and part really thought through and carefully analyzed as you write it. It's a mixture of two approaches, and I imagine writing anything is like that, really. Some of it just flows, and you just go with it.
I learned how to write TV by writing 'Grey's Anatomy.'