A Quote by Francine Prose

I wrote about four novels before I wrote a word of journalism. — © Francine Prose
I wrote about four novels before I wrote a word of journalism.
I wrote a few unsuccessful screenplays before I wrote 'Before the Devil Knows You're Dead.' I wrote them as television plays that never got made. I'm glad I wrote them - I think it was a good experience.
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.
At Princeton I wrote my junior paper on Virginia Woolf, and for my senior thesis I wrote on Samuel Beckett. I wrote some about "Between the Acts" and "Mrs. Dalloway'' but mostly about "To the Lighthouse." With Beckett I focused, perversely, on his novels, "Molloy," "Malone Dies," and "The Unnamable." That's when I decided I should never write again.
I wrote a whole novel before The Beach. Unpublishable. Junk. But, for some reason I stuck at novels and wrote a second. Still not sure why I didn't give up. Stubborn, maybe.
In my career as a writer, I preferred to avoid current events: I wrote young adult novels and book reviews and lifestyle journalism about health and parenting and other such evergreens.
I wrote 'Yellow Submarine' for the Beatles. I wrote the screenplay for 'The Games,' about the Olympic Games. I wrote 'Love Story,' both the novel and the screenplay. I wrote 'RPM' for Stanley Kramer. Plus, I wrote two scholarly books and a 400-page translation from the Latin, and I dated June Wilkinson!
I took to writing as my medicine to help me stay afloat in acting career journey. I wrote about me breaking hearts, and my heart being broken. I wrote about my views whether they were liberal or conservative. I wrote about everything. I wrote about my life. When I did not have paper coming in as green backs, I'd use random pieces of paper for stories. It was like, I got no money, but I have paper to write. So I wrote.
When I wrote 'Savage Season,' it was three years later before I wrote the second Hap and Leonard novel. Whenever I wrote one, I never intended to write the next one.
For 30 years I wrote for newspapers and magazines, wrote books on the Dallas Cowboys' dynasties of the '70s and '90s, wrote about Michael Jordan in Chicago and Barry Bonds in the Bay Area, even wrote columns for ESPN.com from 2004 to 2006.
When I wrote for myself before as an artist, I probably wrote about 15, 20 songs a year. I thought that was a lot. Then, when I first started writing for the people, I wrote, like, 65 songs in a year for two years in a row.
I wrote for magazines. I wrote adventure stuff, I wrote for the 'National Enquirer,' I wrote advertising copy for cemeteries.
I wrote The Same Sea not as a political allegory about Israelis and Palestinians. I wrote it about something much more gutsy and immediate. I wrote it as a piece of chamber music.
When I did 'Happy Birthday,' I wrote the treatment for the video before I wrote the record. And once I wrote the video, I had a clear understanding of what I wanted; I created the soundtrack to that video.
For the first few years I wrote jokes and performed them word for word and then wrote tags for them and did that word for word and that worked pretty well. Now, I do almost all of my writing on stage and then record and listen for any new things and then I write those down.
I was incredibly determined - I wrote short stories, I wrote the beginnings of novels. I wrote a little children's book and sent it to the editor-in-chief of the children's division of Simon and Schuster and she asked me to write a little children's book for a series she was doing.
I wrote from the time I was four. It was my way of screaming and yelling, the primal scream. I wrote like a junkie, I had to have my daily fix.
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