A Quote by Clive Barker
The whole point about vision is that it's very individual, it's very personal, and it has to be confessional. It has to be something which hurts - the pulling out of it and putting it on the page hurts. Art can be about the individual writer's response to his or her condition, and if that response comes out of a predigested belief about what the audience wants to hear about the writer's condition, then it has no truth, it has no validity. You either write with your own blood or nobody's. Otherwise it's just ink.
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For me writing is a long, hard, painful process, but it is addictive, a pleasure that I seek out actively. My advice to young writers is this: Read a lot. Read to find out what past writers have done. Then write about what you know. Write about your school, your class, about your teachers, your family. That's what I did. Each writer must find his or her own kind of voice. Finally, you have to keep on writing.
I don't know if there is really an objective truth about either. I liken this to what Buddhism says about the individual, that change starts with the individual. I think it is really about purifying your own actions, and I have seen that in my own life.
Always communicate no matter how hard it is to tell someone something's wrong. It's worse not to talk about it. I learn this every few years. The truth hurts for 3 days. Lack of truth hurts your whole life.
A writer who wants to be translated and published abroad faces a very difficult challenge: first of all, he must make sure that his book is cosmopolitan in the best sense of the word, that it is interesting to a global audience. Nobody is going to read about problems that they don’t care about.
When I see someone who reads something of mine and draws something out of it that's very different from my perspective, I think that's actually cool. Sometimes it's worrisome when you feel they badly misinterpret it, but it just says that they're thinking, and they're bringing their own interpretation to bear on it. [...] That's part of the wonderful thing about putting words into the world, and if I was worried about that, I couldn't be a writer.
Acceptance is not a talent you either have or don't have. It's a learned response. My meditation teacher made a great point about the difference between a reaction and a response: You may not have control over your initial reaction to something, but you can decide what your response will be. You don't have to be at the mercy of your emotions, and acceptance can be your first step toward empowerment . . . For me, acceptance has been the cornerstone to my having an emotionally healthy response to my illness.
I just feel that if people write about a film, then they should also write about audience's response.
I empathize with players. In our culture it is all about strategies and interventions to help the individual based on their individual needs. It is not just about supplements or putting painkillers in your mouth. You have to educate yourself about that.
Sex is difficult to write about because it's just not sexy enough. The only way to write about it is not to write much. Let the reader bring his own sexuality into the text. A writer I usually admire has written about sex in the most off-putting way. There is just too much information.
A playwright, especially a playwright whose work deals very directly with an audience, perhaps he should pay some attention to the nature of the audience response - not necessarily to learn anything about his craft, but as often as not merely to find out about the temper of the time, what is being tolerated, what is being permitted.
I think the only boundaries are individual and personal. A writer should be free to write about anything he or she wants to, including the twin towers. I have made small references to 9/11 in my past two books.
As a writer, I have to admit, there is something darkly compelling about Alzheimer's because it attacks the two things most central to a writer's craft - language and memory, which together make up an individual's identity. Alzheimer's makes a new character out of a familiar person.
A vision of a desired future allows you to engage and identify immediately in your focus with an improved condition. It changes what you perceive and how you perform NOW. It's not about achieving something in time. It's rather about the quality of choices you are making in this moment - what you choose to perceive, feel, and do. It's about getting the most out of your experience.
One of my big revelations was that nobody cares whether you write your novel or not. They want you to be happy. Your parents want you to have health insurance. Your friends want you to be a good friend. But everyone’s thinking about their own problems and nobody wakes up in the morning thinking, ‘Boy, I sure hope Sam finishes that chapter and gets one step closer to his dream of being a working writer.’ Nobody does that. If you want to write, it has to come from you. If you don’t want to write, that’s great. Go do something else. That was a very liberating moment for me.
I'm very objective about what I want to have happen to my protagonists and where that has to come from. On one hand, it does help me that I had a mother who might have taken the last dollar and bought a pack of cigarettes or something, but I also had a mother who exposed me to art, music, other religions, different foods. My mother was very adventurous in her own way, so she fed the part of me that was going to grow up to be a writer. But there's always, too, the opposite response that helps me to create.
To be an individual is the hardest thing in the world, because nobody likes you to be an individual. Everybody wants to kill your individuality and to make a sheep out of you. Nobody wants you to be on your own.
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