A Quote by Irving Stone
I spend several years trying to get inside the brain and heart of my subjects, listening to the interior monologues in their letters, and when I have to bridge the chasms between the factual evidence, I try to make an intuitive leap through the eyes and motivation of the person I'm writing about.
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Faeries are seen through the heart, not through the eyes. Remember that faeries inhabit the interior of the earth and the interior of all things, so look, in the first place, in the interior of yourself.
The difference between listening and pretending to listen, I discovered, is enormous. One is fluid, the other is rigid. One is alive, the other is stuffed. Eventually, I found a radical way of thinking about listening. Real listening is a willingness to let the other person change you. When I’m willing to let them change me, something happens between us that’s more interesting than a pair of dueling monologues.
there is no prescribed route to follow to arrive at a new idea. You have to make the intuitive leap. But the difference is that once you've made the intuitive leap you have to justify it by filling in the intermediate steps. N my case, it often happens that I have an idea, but then I try to fill in the intermediate steps and find that they don't work, so I have to give it up.
On Waterloo Bridge where we said our goodbyes, the weather conditions bring tears to my eyes. I wipe them away with a black woolly glove And try not to notice I've fallen in love On Waterloo Bridge I am trying to think: This is nothing. you're high on the charm and the drink. But the juke-box inside me is playing a song That says something different. And when was it wrong? On Waterloo Bridge with the wind in my hair I am tempted to skip. You're a fool. I don't care. the head does its best but the heart is the boss- I admit it before I am halfway across
You have to get inside the people you are writing about. You have to go below the surface. And that's to a very large degree what all writers are doing - they're trying to get below the surface. Whether it's in fiction or poetry or writing history and biography. Some people make that possible because they write wonderful letters and diaries. And you have to sort of go where the material is.
I wrote a huge number of letters that spring: one a week to Naoko, several to Reiko, and several more to Midori. I wrote letters in the classroom, I wrote letters at my desk at home with Seagull in my lap, I wrote letters at empty tables during my breaks at the Italian restaurant. It was as if I were writing letters to hold together the pieces of my crumbling life.
There are huge divorces and divides and chasms in black America between the have-gots and the have-nots, between the monied and the poor, between the educated and the non-educated. And there are huge and growing chasms daily. And I want to say that it's not simply about generation. It's about genre.
I just assume that I'll fail at something for several years - that I'll try my hardest and still fail for several years. With writing, that turned out to be wrong. I tried my hardest and failed for about fifteen years.
Love is the only force that can erase the differences between people or bridge the chasms of bitterness.
There is a difference between motivation and inspiration. Motivation is when you get hold of an idea and don't let go of it until you make it a reality. Inspiration is the reverse-when an idea gets hold of you and you feel compelled to let that impulse or energy carry you along. You get to a point where you realize that you're no longer in charge, that there's a driving force inside you that can't be stopped.
My concern with this approach is that music becomes a substance devoid of people. It's a consumer model of what music is: subjects listening to objects. For me, music is subjects listening to subjects. It's about intersubjectivity.
I'm always trying to tackle subjects that tax me and make me think. That's the key to staying young at heart. The brain has to be exercised the same as the rest of the body.
Teenage years are all about crushes: crushes so deep you wanted to inhabit the other person, be inside their skin, see the world through their eyes.
The letters I get from people, a lot of people are very appreciative. I get stacks of letters. I'll do an event, and all the kids will send me all kinds of letters, and that right there is enough motivation to keep doing it.
I might spend 100 pages trying to get to know the world I'm writing about: its contours, who are my main characters, what are their relationships to each other, and just trying to get a sense of what and who this book is about. Usually around that point of 100 pages, I start to feel like I'm lost, I have too much material, it's time to start making some choices. It's typically at that point that I sit down and try to make a formal outline and winnow out what's not working and what I'm most interested in, where the story seems to be going.
A design is intuitive when people just know what to do and they don’t have to go through any training to get there When a design is not intuitive, our attention moves away from what we’re trying to accomplish to how we can get the interface to accomplish what we want.
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