A Quote by Atul Gawande

The writing I love has something memorable in it - an image, a smell. It's the connection between the moment and the whole concept, weaving the micro together with the macro so that it has a hold on people - that's writing.
My general writing preface is to write an outline and then ignore about half of it, both on a micro level with the individual book, and on a macro level with the series as a whole, and that's pretty much what's happened.
There's something to writing a hook and something to writing a memorable melody. That's what I liked about musicals. Then I realized I could write my own songs, and I didn't have to sing other people's.
I think what they've been doing is largely almost in firefighting mode without a good conceptual framework - either at the micro or the macro level. Micro, you would ask: "What kind of financial or banking system do we want?" Macro, you would say: "What are the underlying problems in the structure of our economy?"
Planning to write is not writing. Outlining, researching, talking to people about what you're doing - none of that is writing. Writing is writing. Writing is like driving at night in the fog. You can only see as far as your headlights, but you can make the whole trip that way.
The interesting thing about the China story, getting back to the macro and micro, and as dire as I think the macro story is - due to bad credit and credit extension that makes Greece and Spain and the U.S. look like child's play - when you get to the micro of individual companies, they look even worse.
Writing is writing. It's an abiding, wonderful talent, craft, gift that stays with you your whole life. And you can go in different forms, and you can try them. Look at me: I'm writing novels because I found something I love because I tried it.
writing is the loneliest job in the world. There's always that frustrating chasm to bridge between the concept and the writing of it. We're a harassed tribe, we writers.
Because I write intuitively and image-by-image and moment-by-moment, my writing has to be powered by feelings and emotions.
Love is that micro-moment of warmth and connection that you share with another living being
Writing and producing television very much speaks to the extroverted part of my personality. I love collaboration, the joint effort of hundreds of people working together to create something. But the other part of who I am is extremely introverted. I love being alone and dreaming up ideas and writing novels.
There are some great writers who are great talkers, but there are more great writers who are not great talkers. People seem to think there is some connection between talking and writing, but I love to talk and if there were some connection between the two of them I would be the most prolific writer in the history of the world.
I guess the most emotional part is when I have that moment when I end up writing something that I really, really love. So not only is there the emotional connection with the music that's being created, but there's also the magic of the fact that you're essentially creating something from nothing.
...I feel more alive when I'm writing than I do at any other time--except when I'm making love. Two things when you forget time, when nothing exists except the moment--the moment of writing, the moment of love. That perfect concentration is bliss.
My first gig ever was writing looplines for a movie that had already been made. You know, writing lines over somebody's back to explain something, to help make a connection, to add a joke, or to just add babble because the people are in frame and should be saying something.
In writing, the connection between storyteller and audience is just as important. By using some subtle devices, a narrator can reach out to the reader and say, 'We’re in this together.'
The skies and land are so enormous, and the detail so precise and exquisite that wherever you are you are isolated in a glowing world between the macro and the micro.
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