A Quote by Gary Shteyngart
I write five, six days a week. The thing is capturing the voice. I feel like I've been perfecting one voice - in different iterations, sure, but the Russian-ness has always been the undercurrent.
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I do 45 minutes of cardio five days a week, because I like to eat. I also try for 45 minutes of muscular structure work, which is toning, realigning and lengthening. If I'm prepping for something or I've been eating a lot of pie, I do two hours a day, six days a week for two weeks.
I'm a big comic book geek and I've been reading comic books since pretty much since I was five or six in 1971 or something like that. So, I mean, I read it all and there's certainly a lot of different iterations of Superman that I personally have enjoyed more than others.
The songs that I sing and the songs that I write have always just been what I feel my voice does well, and what my inspirations have been and a kind of culmination of everything.
Classical ballet is very extreme. You're doing it six days a week, and it's a kind of obsession of perfecting a move. So every muscle in your body has been stretched and tightened, stretched and tightened.
I have a voice coach, but only in so much as to make my voice stronger so I can sing for five nights a week, two hours.
Hormone replacement therapy does not change or affect your voice. And I have no problem with my voice: I really like my singing voice, I don't feel any dysphoria with my talking voice.
I don't work on my Sabbath. I write five-and-a-half or six days a week.
Write like you write, like you can't help but write, and your voice will become yours and yours alone. It'll take time but it'll happen as long as you let it. Own your voice, for your voice is your own. Once you know where your voice lives, you no longer have to worry so much about being derivative.
My voice has always been kind of distinct - even when I was four years old, my mom told me that people would be like, 'Why does your daughter always sound like a chain smoker?' I've always had this deep, raspy voice.
I wanted to write a voice that for me, as a reader, had been missing from the chorus: the voice of an angry woman.
I think most of us, as writers, have had experiences where you get edited and it doesn't feel like your voice at all. And so it's been nice to go through the experience of having a lot wind up on the cutting-room floor, and yet still feel that your voice is being - not purified, but made more yourself. I think that's a very rare thing.
With musical theatre, although there are rules, they're so different to the ones I feel like I have accidentally been ingrained with writing pop music. The main point is to tell the story. You just have to make sure the character's voice is strong and the storytelling is strong.
Along the way, I've had different advice from different music producers. I've been told to tone it down, that the quiet parts of my voice are appealing and there's harshness to the loud part of my voice.
I've always been inspired by female performers and artists who really surround who they are around their voice. For me, it's always been about the voice. I wanna hear someone just sit by a piano, on a stool, and just sing - and that's it!
There are times when the voice of repining is completely drowned out by various louder voices: the voice of government, the voice of taste, the voice of celebrity, the voice of the real world, the voice of fear and force, the voice of gossip.
I think the best thing is having a voice and being able to give people a different perspective and a different opinion and voice my emotions and how I feel. To be heard by people, it feels good.
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