A Quote by Amanda McKittrick Ros
My works are all expressly my own - pleasingly peculiar, not a borrowed stroke in one of them. I write as I feel and as I don't feel.
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I have written six symphonies, they are smaller-scale works. I seem to emit my themes, work them out, combine and intertwine them, and then come to a close. I usually feel that there are no superfluous extras, but probably most composers feel that way about their works.
We also write to heighten our own awareness of life... We write to taste life twice, in the moment, and in retrospection... We write to be able to transcend our life, to reach beyond it...to teach ourselves to speak with others, to record the journey into the labyrinth. We write to expand our world when we feel strangled, or constricted, or lonely... When I don't write, I feel my world shrinking... I feel I lose my fire and my color.
I always feel a responsibility to the people I write about. I feel obligated to portray them in the way they feel is proper.
I try to write stories that will attract younger readers and make them feel part of a wider readership. I do not feel able to write books that are about, or even for, teenagers; and I am inclined to be suspicious of books which 'target' them.
The concentration of all seven behind the stroke should be so strong that you know by feel when that stroke has varied his style or rating without the cox announcing it.
I wish to add my mite towards expounding & interpreting the Almighty, & his laws & works, for the most effective use of mankind; and certainly, I should feel it no small glory if I were enabled to be one of his most noted prophets (using this word in my own peculiar sense) in this world.
Because I write the screenplay entirely and precisely, there is the danger that an actor might feel that this finite role is being imposed on them. I want the actors to feel that this is their own role, and that they can go back to point zero and develop this character.
I've never known a writer who didn't feel ill at ease in the world. We all feel unhoused in some sense. That's part of why we write. We feel we don't fit in, that this world is not our world, that though we may move in it, we're not of it. You don't need to write a novel if you feel at home in the world.
I feel as if my mission is to write, to see, to observe, and I feel lazy if I'm not reaching conclusions. I feel stupid. I feel as if I'm wasting my time.
There are too many positive and goody male characters on TV, and they work, so its good for them. I feel each to their own. If it works for them, it's fine. I don't connect to such characters, so I won't do them.
I've said this so many times, but I keep coming back to this: Trends come and go. Own them and make them your own. If it doesn't feel right, then don't feel like you need to dress a certain way just to be trendy.
The people need to feel the music. That's what's so important, and that's what is missing. You have to let the audience feel you, you have to let them feel the love, feel the rock 'n' roll, feel the energy.
If you want to be a writer, write. Write and write and write. If you stop, start again. Save everything that you write. If you feel blocked, write through it until you feel your creative juices flowing again. Write. Writing is what makes a writer, nothing more and nothing less.
Revision has its own peculiar pleasures and its own peculiar frustrations. The ground rules are already established; the characters already exist. You don't have to bring the characters to life, but you do have to make them more convincing.
How can you be afraid to feel? Isn't fear a feeling? If you're feeling fear, you've felt one of the most negative emotions there is to feel. Everything else should be a piece of cake. Feel good, feel happy, feel healthy, feel loved, feel abundant, feel creative, feel compassionate, feel knowledgeable, feel powerful.
When I write, I normally write anywhere that I can feel at peace, so if it's in my bedroom, if it's at the park, if it's by a lake somewhere, wherever I feel calm is where I like to write.
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