A Quote by Andrew Motion

I've always thought that the balance between the side of my mind that knows what it is doing and the side that really hasn't got a clue has to be carefully maintained because if you write too knowingly then you get chilly, and if you write too unknowingly you write bollocks that nobody else can understand.
I wish I'd been better able to resist the sense of obligation to write some of the poems I did. It's in the nature of commissioned work to be written too much from the side of your mind that knows what it's doing, which dries up the poetry.
I write what I want to write, and then, when it's finished, I use my judgment to see whether or not I think it's intrusive. If it is problematic, then I ask those involved. I won't necessarily do what they say. But I do consult. I haven't had too many problems. Nobody's really gotten angry at me. Nobody, as far as I know, has felt betrayed.
You can draw a line between what I'm interested in and what I'm not interested in. On one side you can name Dylan and Lennon, who observe the world and have feelings, and write songs directly from those feelings. On the vapid side you have pop groups who need material and write songs to fill the hole, rather than getting somebody else.
People think once you get famous and rich you move out of the public sphere and you have nothing left to write about. I've heard that - Bruce Springsteen was this real street boy, now he's got this big house. How does that compute? If you don't look at the material side of someone's life, if you look at more the emotional side, there's always a wealth of stuff to write about.
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.
I always write stories, and I write poems, too. I just never sell them to anybody, but I write them. They're good, too. They never leave the house. They're too disclosing.
Any negative review you write, they'll say, "Oh, you're being so mean." I think the problem with a lot of criticism is that too many critics either write just description or they write in a Mandarin jargon that only a handful of people can understand, or they write happy criticis - everything is good that they write about. I think that's really not good. I think it's damaged a lot of our critical voices.
I write because I have an innate need to. I write because I can't do normal work. I write because I want to read books like the ones I write. I write because I am angry at everyone. I write because I love sitting in a room all day writing. I write because I can partake of real life only by changing it.
I write chronologically in my life, so whatever's going on, I write about it. Usually, that's when I feel the most cohesive body of work is formed. I got to live this crazy life, I got to write about it, and now I've got this record that I'm really proud of, too. It's not done, but when I put it out, it's gonna be good.
When you write for somebody else, you've got to write from their standpoint. You can't really write from your own point of view.
I would get up at 3 in the morning and write. Or sometimes I would write at midnight. Or I would write when my child napped. It wasn't a burden. I was so enthused about what I was doing at the time that I really didn't mind.
I thought I'd get an MBA, and then I could be anything. And I'd write on the side. That was the idea.
Political poetry is the hardest thing to write because you cannot preach to the converted, and if you're only seeking to convert, then write an editorial. I hope I can write about Trump; he's too major a force not to be written about.
I write for fanboy moments. I write to give myself strength. I write to be the characters that I am not. I write to explore all the things I'm afraid of. I write to do all the things the viewers want too. So the intensity of the fan response is enormously gratifying. It means I hit a nerve.
I write because it is while I'm writing that I feel most connected to why we're here. I write because silence is a heavy weight to carry. I write to remember. I write to heal. I write to let the air in. I write as a practice of listening.
When I write, I have always tried to be on the side of the weak. The side of the powerful is not literature's side.
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