A Quote by Barry Mann

The real danger of writing a great song when you're on something is that it might get you thinking that the only way to repeat that is by only writing when you're high. — © Barry Mann
The real danger of writing a great song when you're on something is that it might get you thinking that the only way to repeat that is by only writing when you're high.
I think film writing, you're thinking in pictures, and stage writing, you're thinking in dialogue. In film writing, it's also, you only get so many words, so everything has to earn its place in a really economical way. I think for stage writing, you have more leeway.
Writing is one way to go about thinking, and the practice and habit of writing not only drain the mind but supply it, too.
When people speak to me of the torment of writing, I can think only of what it was like before I wrote: once writing meant writing and not thinking about writing, I knew nothing of any torment.
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.
Outlining is not writing. Coming up with ideas is not writing. Researching is not writing. Creating characters is not writing. Only writing is writing.
A good song should make you wanna tap your foot and get with your girl. A great song should destroy cops and set fire to the suburbs. I'm only interested in writing great songs.
I'm not writing for fundamentalists. I'm writing for the people who have been repelled by that kind of thinking and yet who think there might be something they haven't yet discovered.
The hardest part is writing a song as a story. A song is so short and there are only so many words that every line has to hit. The words have to flow. You can't say certain words that sound weird next to each other, you can't repeat words too much.
I don't see one as bring better or more literate than the other and there's a real buzz to not only writing about a character I love like Superman, but also writing something that kids can enjoy.
Writing, for me, is an extension of thinking - it's my way of processing, and only when I've gotten something down on the page have I thought through it fully.
It's just weird because like when I was writing Cry Baby I like...the only thing that I was thinking about, when writing it, was the concepts and the visuals, and the way that it sounded kind of happened naturally.
I've quit writing screenplay [adaptations]. It's too much work. I don't look at writing a novel as work, because I only have to please myself. I have a good time sitting here by myself, thinking up situations and characters, getting them to talk - it's so satisfying. But screenwriting's different. You might think you're writing for yourself, but there are too many other people to please.
When I'm writing songs, I write visually. When I'm writing the words down and I listen to the melody and the lyrics, I start seeing the video form. And if I can get through a song and from the beginning to the end have the whole video in my mind, I think that's a great song.
Sometimes you're writing a song and you have an image whilst writing a song. I don't think you ever base a songwriting process around a video, but when you're writing a song sometimes it'll be a very visual song.
Writing a book is a way of thinking to me, the only way of thinking that I have found successful.
When I was writing my first novel, 'Elizabeth is Missing,' I was writing the only novel I had ever written and writing about the only protagonist I'd ever written about. Because of this, I didn't think of her as a construct. Maud was real.
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