A Quote by Anne Lamott
We all often feel like we are pulling teeth, even those writers whose prose ends up being the most natural and fluid. The right words and sentences just do not come pouring out like ticker tape most of the time.
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I feel like the reason I ended up becoming a playwright is because I never choose the right word. As a kid, my fantasy profession was to be a novelist. But the thing about writing prose - and maybe great prose writers don't feel this way - but I always felt it was about choosing words. I was always like, "I have to choose the perfect word." And then it would kill me, and I would choose the wrong word or I would choose too many perfect words - I wrote really purple prose.
Most songwriting like poetry takes a careful selection of words. Sometimes you're just channeling something and a selection of words come out that you wouldn't normally say, but you come up with an assortment of words that are really special. It just makes sense even if it's normally how you wouldn't express yourself.
I don't matter here, Shane. I feel like I just don't matter. Stupid, right?" "No," he said. He sounded so gentle it broke her heart. "It's how most people feel most of the time, Claire. You've grown up being special, and this is how most people live their lives...on their own, unnoticed. And they get used to that feeling. It's just new for you.
Most writers write too much. I have the exact opposite problem. I feel I could write almost anything in a paragraph. I have a natural ability to condense, and so I often think, "Are you kidding me? Five thousand words? How am I gonna make 5,000 words out of that?"
I'm a line-maker. I think that's what makes poets different from prose-writers. That's the main way. We think, not just in sentences the way prose writers do but also in lines. So we're doing these two things at the same time.
I feel with writing, so much of the time, I don't know how to tap in and be spontaneous and alive on a daily basis. So I don't write every day. I'm just not disciplined, and I can't be in the groove most of the time. I feel like I'm in the groove ten days a year or something. But with reading and research, I feel like I have this incredibly instinctive pleasure-driven process that ends up working out for me and inspiring me. It's almost like a maze, like I know eventually I'll hit the heart of my play if I read enough books.
Even in a crowded field, it is a rare pleasure to come across a prose stylist like Kellie Wells, whose intellect and language bid one another beautifully to a dance. She dares to be at play in the most unsettling questions of her day. Surely when the present generation of writers shakes down to its unique and irreplaceable voices, Kellie Wells will be one of them.
I too love everything that flows: rivers, sewers, lava, semen, blood, bile, words, sentences. I love the amniotic fluid when it spills out of the bag. I love the kidney with it's painful gall-stones, it's gravel and what-not; I love the urine that pours out scalding and the clap that runs endlessly; I love the words of hysterics and the sentences that flow on like dysentery and mirror all the sick images of the soul.
The most powerful political moments for me come when I feel like my actions are aligned with a certain truth. I can feel it. When I'm talking to a group and I'm saying something truthful, I can feel a power that comes out of those statements that is different than when I'm just being glib or clever.
There are things you do that just come natural, and sometimes those are amazingly in synch, and sometimes they're horribly out of synch, and you're like, 'Ooo! That wasn't very good tonight.' Most of the time, it's just on.
I love Mix Tape. It combines three great elements - magic, music and a natural way of performing. I know that every time you perform Mix Tape you will feel like you're presenting someone with a very special gift. I've never come across a routine so natural and so strong. Use this and you will be the wonder worker they talk about long after you have left.
I feel like the writers that I'm drawn to, the writers that I really cling to, are the writers who seem to be writing out of a desperate act. It's like their writing is part of a survival kit. Those are the writers that I just absolutely cherish and carry with me everywhere I go.
Some things you just can't explain. You don't even try. You don't know where to start. All your sentences would jumble up like a giant knot if you opened your mouth. Any words you used would come out wrong.
Or have I passed my time in pouring words like water into empty sieves, rolling a stone up a hill and then down again, trying to prove an argument in the teeth of facts, and looking for causes in the dark, and not finding them?
Language is never fully trustworthy, but when it comes to eating animals, words are as often used to misdirect and camouflage as they are to communicate. Some words, like veal, help us forget what we are actually talking about. Some, like free-range, can mislead those whose consciences seek clarification. Some, like happy, mean the opposite of what they would seem. And some, like natural, mean next to nothing.
You know, it's a funny thing about writers. Most people don't stop to think of books being written by people much like themselves. They think that writers are all dead long ago--they don't expect to meet them in the street or out shopping. They know their stories but not their names, and certainly not their faces. And most writers like it that way.
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