Yeah, we went to England to do a show and I got off the plane and I couldn't write my name or hold my hand up.
One of the things that is always difficult about a collaboration is that you don't necessarily find the same thing funny. And so the challenge becomes, how do you tell the other person that you don't think something's funny? The best collaborations tend to be when you are willing to be told that. But there's also ego involved, and so there's a lot of frustration in knowing that you're writing something, and the other person, on some level, needs to think that it's funny.
Frontiersmen good and bad, gunmen as well as inspired prophets of the future, have been my camp companions. Thus, I know the country of which I am about to write as few men now living have known it.
A lot of the old-school artists didn’t even respect what’s being called freestyle now. . . any emcee coming off the top of the head wasn’t really respected. The sentiment was emcees only did that if they couldn’t write. The coming off the top of the head rhymer had a built-in excuse to not be critiqued as hard
If you want to be a Roman Catholic scholar and write, you've got to write in such a way that nobody understands what you're saying, and then you're thought to be profound.
Craft is a trick you make up to let you write the poem.
To produce a mighty book, you must choose a mighty theme. No great and enduring volume can ever be written on the flea, though many there be that have tried it.
When I was first learning songs, I'd have a favorite song, and I'd take the chords and twist them around. I'd learn the chords and then play them backward. That was my first experimenting with writing a song.
Writing is a way of processing our lives. And it can be a way of healing.
ART Art is that thing having to do only with itself—the product of a successful attempt to make a work of art. Unfortunately, there are no expamples of art, nor good reasons to think that it will ever exist. (Everything that has been made has been made with a purpose, teverything with an end exists outside of that thing, i. e. , "I want to sell this", or "I want this to make me famous and loved", or "I want this to make me whole", or worse, "I want this to make others whole. ") And yet we continue to write, paint, sculpt and compose. Is this foolish of us?
I had some friends commenting me books, but mostly it was people I didn't know. But they're fans. They're fans of the books, so they have a working knowledge of how I write, and they know what they like and what they don't like. I'm really grateful for their feedback.
A mixtape is for the street, it's something you without necessarily thinking about it, because you have to stay in the game. It's like writing an e-mail saying hello to your friends.
One of the things I find in writing about people who are dead is that, after a short or long time, no matter how close the relationship was, they become like characters in fiction.
It is for this, partly, that I write. How can I know what I think unless I see what I write.
It's true that writing can give new forms to concepts that existed previously with far less clarity, but in terms of the other half of a story's story - the way a story is received and interpreted and used - the audience plays a part in that too.
I LOVE Taylor Swift's 1989. I think it's really cool at the moment that the production on her record is just as strong as the writing. I like the fact that the early nineties sound seems to have come back around
Songs will always become a story in some way. I think it's my strongpoint as a writer musically. I don't shy away from it. It's not really an effort. It's how I write songs.
I like embracing kind of normal forms but am always trying to approach them as if no one's ever done that before. As if I'm literally the first person to ever write a book.
Sometimes a creditor is willingto do this as a bargaining point - you give the creditor cash in hand, it gives you a positive listing on your credit report - even though you haven't paid the full amount. Get this agreement in writing.
A critic knows more than the author he criticizes, or just as much, or at least somewhat less.