I am a great believer that all the primary research has to be done before principle writing begins. I'm a huge advocate of plotting.
If you write memoir, it can't be about blame or hurt; it has to be creative.
I try to remember that the job - as well as the plight, and the unexpected joy - of the artist is to embrace uncertainty, to be sharpened and honed by it.
It is in the thousands of days of trying, failing, sitting, thinking, resisting, dreaming, raveling, unraveling that we are at our most engaged, alert, and alive.
Writing has been my window-flung wide open to this magnificent, chaotic existence-my way of interpreting everything within my grasp.
Everything changes. The more I try to hold on to the moment, the more it slips through my fingers.
Everything you need to know about life can be learned from a genuine and ongoing attempt to write
Four sits down on the edge of the carousel, leaning against a plastic horse's foot. His eyes lift to the sky, where there are no stars, only a round moon peking through a thin layer of clouds. The muscles in his arms are relaxed; his hand rests on the back of his neck. He looks almost comfortable, holding that gun to his shoulder. I close my eyes briefly. Why does he distract me so easily? I need to focus.
We must be devoted to sound principles in word and deed: principle above party, principle above pocketbook, principle above popularity.
For the first time in my life I feel truly free, truly strong and comfortable with who I am and what I stand for. The future feels like an exciting adventure and I am a daring explorer. . . who knows what I'll discover? But I know it's going to be fun!
I only ever run when there's some point to it - say, if it's in a game of tennis.