A Quote by Annie Jacobsen

Anyone who's read my 'Terror in the Skies' series knows that I have not been writing with an eye toward approval from any government agency. — © Annie Jacobsen
Anyone who's read my 'Terror in the Skies' series knows that I have not been writing with an eye toward approval from any government agency.
Writing well has everything to do with being able to read one's own work with an eye toward the unmet possibilities that are there.
I started writing 'Normal People' not knowing that anyone would read it, not knowing that anyone would read the first book, so I didn't really have any hang ups about, 'Oh, I can't do this again. I've done this already.' It was just a project I was working on for my own amusement.
In my writing class, we never, ever talk about the writing - ever. We never address a story that's been read. I also won't let anyone look at the person who's reading. No eye contact; everybody has to draw a spiral. And I would like to do a drawing class where we could talk about anything except for the drawing. No one could even mention it.
Anyone who doesn't read doesn't have any business writing.
Arbitrary government power is being multiplied daily by the now practically unchallenged assumption that wherever there is any problem of any kind to be solved, government is the agency to step in and solve it.
I think, traditionally, when the federal government has gathered statistics, it's been done in silos, so every agency really focuses on the statistics that are important to agency.
I don't think we need a critic to negotiate with the audience. People say, "Who are you writing for?" I'm writing for myself but my audience is anybody who knows how to read. I think a story should engage anybody who knows how to read. And I hope that my stories do, maybe on a different level for more sophisticated readers than, say, a high school kid, but still a story has got to grab you. That's why we read it.
The traditional model for a company like Coca-Cola is to hire one big advertising agency and essentially outsource all of its creativity in that area. But Coca-Cola does not do it that way. It knows how to manage creative people and creative teams and it has been quite adept at building a network that includes the Creative Artists Agency in Hollywood, which is a talent agency.
I have never been affected by terror, but here in Iran, I have never felt any ill will toward me - the opposite, actually.
Read. Read. Read. Read many genres. Read good writing. Read bad writing and figure out the difference. Learn the craft of writing.
When anyone starts out to do something creative - especially if it seems a little unusual - they seek approval, often from those least inclined to give it. But a creative life cannot be sustained by approval, any more than it can be destroyed by criticism - you learn this as you go on.
Anyone who has attempted to create knows the hellishness of it, which consists in the final inescapability from it. Knows that anything, however deadly humdrum to drug the senses, is preferable to it. Knows the gigantic effort to get started on the boundless, unwieldy, shapeless material; the forest of hesitations; of what to keep and what to throw out; the running-out terror and reluctance in one of finishing.
Just as the left has to be more willing to question 'Government knows best,' the right has to rethink its laissez-faire attitude toward government.
I've read the whole 'Divergent' series, the 'Pretty' series. I just read it because I find this stuff interesting to read.
Concentrate on a single feature - as, build all toward one eye - make all lines lead toward that eye.
lf the attribute of popular government in peace is virtue, the attribute of popular government in revolution is at one and the same time virtue and terror, virtue without which terror is fatal, terror without which virtue is impotent. The terror is nothing but justice, prompt, severe, inflexible; it is thus an emanation of virtue.
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