A Quote by Amy Bloom
Training to be a therapist teaches you to shut up and listen, and that is certainly useful as a writer.
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The journalism, I was a financial journalist - it's very good training as a writer. You have to write for deadlines; you have a certain economy of phrasing. As a training ground as a writer, it's fantastic. I also think it teaches you to be observant, to listen to people, and gives you an ear of dialogue from doing interviews.
[NFL fans] wish they'd shut up and play football, and I think the vast majority of people, "Shut up and act! Shut up and sing! Shut up and star in your TV show! Just shut up and do what you do, but shut up!" I think they're wearing out their welcome.
All of my friends were seeing a therapist, and I thought something was wrong with me that I didn't see a therapist. So I went to a therapist to find out why I wasn't seeing a therapist. And it turns out I'm very screwed up. Thank God I found a therapist to tell me for $125 an hour.
I'm most biased about how white people have to learn to shut up when the conversation of racism comes up. White people have to learn to listen. Whether they agree with what they're hearing or not, they have to know to shut up and listen.
In training, you listen to your body. In competition, you tell your body to shut up.
The training of a journalist, of working with words for thousands of hours, is extraordinarily useful for a fiction writer.
I think journalism is useful training for a writer in the way it takes the preciousness out of the pragmatic side of the craft.
In California everyone goes to a therapist, is a therapist, or is a therapist going to a therapist.
It’s Tolstoy, by the way,” I say as I open the door. He turns around. “What?” Shut up, I tell myself. Shut up. “The writer of Anna Karenina. Not Trotsky. Trotsky was a revolutionary who was stabbed with a pickax in Mexico in 1940. But I can understand how the T thing could confuse you.
Listen to me, convict. I have not traveled all this way to listen to your war stories. So shut your trap before I shut it for you. Commander Julius Root
I have a talent for coming up with an analogy about martial arts training for everything. It's because training to improve your martial arts skills and training to step into a cage and fight another person teaches you a lot about... everything.
If I weren't performing, I'd be a beauty editor or a therapist. I love creativity, but I also love to help others. My mother was a hairstylist, and they listen to everyone's problems - like a beauty therapist!
Training teaches how. Education teaches why.
We were brought up in the school that teaches: You do what the script tells you. Deliver the goods without comment. Live it-do it-or shut up. After all, the writer is what's important. If the script is good and you don't get in its way, it will come off okay. I never discussed a script with Spence [Spencer Tracy]; we just did it. The same with Hank [Henry Fonda] in On Golden Pond. Naturally and unconsciously we joined into what I call a musical necessity-the chemistry that brings out the essence of the characters and the work.
I get a lot of "Shut up, Matilda." I probably get as many "Shut up, Matildas" as Wil Wheaton gets "Shut up, Wesleys." That was an actual line on his show, though.
The consciousness-expanding drugs - the hallucinogens, such as cannabis, mescaline, LSD, Psylocybin - I think are useful to a writer up to a certain point. That is, they open psychic areas that would not otherwise be available to the writer. But I feel that once these areas have been opened and the writer has reached them, he is able to get back there in the future without the drug.
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