A Quote by Curtis Grimes
The first time I go out to Nashville, ever (at this point I had only heard the rumors about what it's like) I had three writing sessions set up. The first two canceled on me. I was kind of pissed off at that point. So I just went back to my hotel room and started writing. And even though I've been to L.A. and experienced a lot of things, at the end of the day I just start to feel like I'm playing acoustically at the first bar I ever played at.
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I felt like I had experienced a lot of things in the first chapter of my life, and I wanted it to inspire and motivate people, so I just started writing.
I was a lot dumber when I was writing the novel. I felt like worse of a writer because I wrote many of the short stories in one sitting or over maybe three days, and they didn't change that much. There weren't many, many drafts. That made me feel semi-brilliant and part of a magical process. Writing the novel wasn't like that. I would come home every day from my office and say, "Well, I still really like the story, I just wish it was better written." At that point, I didn't realize I was writing a first draft. And the first draft was the hardest part.
My highest point was the first thing I won, a short story competition in a women's magazine in the Eighties. It was the first time I'd had my writing validated, and the first thing I'd ever shown anyone else.
The first year I moved to Nashville, I started playing these songwriter nights with people like Nickel Creek, Duncan Sheik, and even Ryan Adams... That was the first place I really started playing music, and I had to really step up my game. Really quick. Or get kicked off the stage.
I wish I had time to do more reading, but I just haven't had much time. But I still find time for writing. I've always preferred writing over reading, even though those things do go hand in hand. But when I do have time, even if it's not writing music, just writing in general - ideas and stories and things like that.
Before we started writing we did feel pressure because of the success of the first record. One of the first songs that we wrote was "Out Of My Heart" which is the first single. As soon as we wrote that, we knew we just set the standard and every other song had to be as good if not better.
I had no idea when I moved to Nashville people just were songwriters. I had no idea. So I guess I was selling myself as a singer when I first moved here. But then right after I first moved, I started writing a lot.
Sally Barris has a voice like sparkling crystal. You could have knocked me over with a feather the first time I heard her. Her writing is from a deep, yet innocent, place and her point of view is just a bit off center. I am excited for her, she is standing at the beginning of her journey in this town, with all of it ahead of her. It reminds me of the first time I heard Beth Nielson-Chapman or Nanci Griffith. It's going to be fun to watch.
I've had the idea since high school, of writing music just for voices, just a choir. I don't know if I'll ever get around to doing it, but I'd definitely be excited about trying to pull that off at some point. It definitely seems like an older-me kind of project.
I just started trying to figure out how to write [something] which was unlike anything anybody had ever seen, and once I felt like I had figured that out I tried to figure out what kind of book I could write that would be unlike anything anybody had ever seen. When I started writing A Million Little Pieces I felt like it was the right story with the style I had been looking for, and I just kept going.
A lot of times, it's nice to open, because the heat's off you. You just go out and blast your set and say to whoever's going to finish, 'There you go.' Even though when you first start, people are drifting in, and that's kind of a bit disconcerting.
I've been on projects before where there's no rehearsal, and you walk in on set and that's literally the first time you've ever played the character, and then I've had times where there's been three weeks of rehearsal. I like both.
I started writing rhymes first and then put it to the music. I figured out I could lock it to the beat better if I heard the music first. I like to get a lot of tracks, put the track up and let the music talk to me about what it's about.
There's always only been three of us [drummer Joey Shuffield, vocalist, bassist and keyboardist Tony Scalzo and myself], but when we first started we didn't have anybody augmenting the band, so everything had to be kinda to the point anyway. We did that record and toured a while on that, but I just got sick of playing it every night. It felt like doing push-ups to me.
I've always been surprised when a straight guy likes me. It's just been like my whole life has been kinda like that. I definitely felt like when I started writing music, it wasn't writing for a gay audience at all. I was just writing for me. But what I say whenever I get this question is my best friends have always been gay, I've always been, as a person, just accepted by the gay community, and celebrated and had the best nights of my life at gay clubs. Always had a fashion sense usually with drag and I don't know. That's just kind of my people. That's just kind of where I fit in.
Sometimes I'll have a scene that strikes me, I just feel like writing a scene, a mini-story that seems like it might lead somewhere. But that is such a tentative, fishing-hook way to go about it that these days I've found it's easier to kind of at least have your concept and start attaching things to a skeleton. So I try to find the armature, the kind of backbone of it first that you can start to hang those scenes on.
