A Quote by Hampton Fancher

I don't mean to talk so much about screenplay writing. Who wants to talk about screenplay writing? I've taught it and I felt like a charlatan because what I was teaching I probably couldn't do.
When I started writing short stories, I thought I was writing a novel. I had like 60 or 70 pages. And what I realized was that I don't write inner monologue. I don't want to talk about what somebody is thinking or feeling. I wanted to try to show it in an interesting way. And so what I realized was that I was really writing a screenplay.
I didn't know anything about writing a screenplay, but somehow I ended up rewriting a screenplay.
I've quit writing screenplay [adaptations]. It's too much work. I don't look at writing a novel as work, because I only have to please myself. I have a good time sitting here by myself, thinking up situations and characters, getting them to talk - it's so satisfying. But screenwriting's different. You might think you're writing for yourself, but there are too many other people to please.
I see myself only sporadically as a teacher and consistently as a writer. Teaching is how I pay the bills...and fortunately, for my students, I can intellectualize about writing, and I can talk about it well, and I like to talk about it.
When I write a screenplay - and I think this is true for a lot of people - you direct the movie. Thats what writing a screenplay is.
When I write a screenplay - and I think this is true for a lot of people - you direct the movie. That's what writing a screenplay is.
Right when I moved to L.A., I started writing. I wrote some screenplay. I'm sure it's terrible. But I wrote a screenplay by myself. When I first moved to L.A., I had no friends. I didn't know anybody. I just sat in a little studio apartment, and I wrote a screenplay.
I prefer reading novels. Short stories are too much like daggers. And now that I'm done with my collection I'm more interested in different forms of writing and other kinds of narrative art. I'm working on a screenplay. But when I was working on Eileen, I definitely felt like I was taking a piss. Like, here I am, typing on my computer, writing the "novel." It wasn't that it was insincere, but there was a kind of farcical feeling I had when I was writing.
Well, I don't want to talk too much about my children, but a friend of one of my children, something really terrible happened to her. I just felt like I had to speak about growing up again, because I felt that there's no way I can talk about difficulties of life. I had to talk about possibilities.
I remember this one time I had a dream about me writing a screenplay, and when I woke up, you know those dreams that feel so real, but I woke up and I was like, 'Oh my god I have this amazing screenplay I need to write down as soon as I wake up' and then I woke up and I was like what the heck was I dreaming of?
When we talk about books, we rarely talk about the economic side of writing, especially of writing literary works, and that, at base, it's a pretty costly enterprise.
Somebody's always getting me to come lecture to their writing class, and I don't talk about writing at all, I talk about the business of making a living at this racket.
He's trying to do info-tainment. He doesn't really want to talk about trans issues, he wants to sensationalize my life and not really talk about the work that I do and what the purpose of me writing this book was about.
Writing about conflict has provided these dramatic opportunities to talk about really substantial moments in a person's life. I'm not writing about superheroes; I'm writing about ordinary people.
Writing with a film in mind - writing like a screenplay - is a sureshot recipe for disaster.
Writing a screenplay is like writing a big puzzle, and so the hardest part, I think, is getting the story.
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