A Quote by Edmund Spenser
One day I wrote her name upon the strand, But came the waves and washèd it away: Again I wrote it with a second hand, But came the tide, and made my pains his prey.
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One day I wrote her name upon the strand, But came the waves and washèd it away: Again I wrote it with a second hand, But came the tide and made my pains his prey. Vain man (said she) that dost in vain assay A mortal thing so to immortalise; For I myself shall like to this decay, And eke my name be wipèd out likewise. Not so (quod I); let baser things devise To die in dust, but you shall live by fame; My verse your virtues rare shall eternise, And in the heavens write your glorious name: Where, when as Death shall all the world subdue, Our love shall live, and later life renew.
Alone I walked on the ocean strand, A pearly shell was in my hand; I stooped, and wrote upon the sand My name, the year, the day. As onward from the sport I passed, One lingering look behind I cast, A wave came rolling high and fast, And washed my lines away.
'Marvin Gaye' came about my first day in L.A. It was kind of crazy that that's my first song that I wrote and it blew up that much. What's crazy is the next day I wrote 'See You Again,' so that's pretty interesting. I was trying to prove myself as a songwriter.
I think it is just something in my head that tells me to keep believing. Andy Spence, my manager at Everton, wrote me a little card before we came away and wrote at the bottom, 'Just remember, it only takes a second to score a goal.'
My father was prolific when it came to writing: day-timers, journals. He wrote on pieces of loose-leaf paper that he held on to, and he wrote in spiral notebooks.
The storm came. Lives were washed away. Ancient pains resurfaced. Now it is time for a sea of change.
In the immediate aftermath of the separation I just wrote and wrote and wrote. And wrote and wrote and wrote. Thank God I had that as an outlet.
I have all these computers and keyboards and synthesizers, and I rattle away. For instance, with The Lion King I wrote over four hours worth of tunes, and they were really pretty -but totally meaningless. So in the end I came up with material I liked. We worked on The Lion King for four years, but I wasn't toying until the last three-and-a-half weeks properly. On Crimson Tide, on the other hand, I just went in and within seconds I knew what I wanted.
I was born left-handed, but I was made to use my other hand. When I was writing 'Famished Road,' which was very long, I got repetitive stress syndrome. My right wrist collapsed, so I started using my left hand. The prose I wrote with my left hand came out denser, so later on I had to change it.
I wrote a play before that and it never saw the light of day. And then I started working on this play and it came out really quickly. Eventually I got it, and I wrote a letter to Sarah Jessica Parker and she wanted to do it. So that's how it happened.
After one of my plays came out, I had mixed reviews, some bad and some good. One day, it dawned on me. I thought, 'I wrote a play and he wrote a review, and that's the difference between him and me.'
The day Guy Clark passed away was the day we wrote 'Girl Goin' Nowhere.' It was the first day I had met Jeremy Bussey, who I wrote the song with.
When I read that the flash came, and I took a sheet of paper. . .and I wrote on it: I, Emily Byrd Starr, do solemnly vow this day that I will climb the Alpine Path and write my name on the scroll of fame.
I wrote for Roseanne. I wrote her stand-up act with her. I wrote with Tom Arnold. There was a period when I was working with them pretty steadily. But I would take brief gigs here and there.
My mother wrote a teen column for the South China Morning Post in the 1950s when she was growing up in Hong Kong. Her name was Lily Mark, but she sometimes wrote under her confirmation name, Margaret Mark. That was how she met my father.
'Despacito' started with a melody hook that I had with my guitar only. The beat for this track came after I wrote the lyrics, which I wrote as if I was writing a ballad.
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