A Quote by Jerry Saltz
Any negative review you write, they'll say, "Oh, you're being so mean." I think the problem with a lot of criticism is that too many critics either write just description or they write in a Mandarin jargon that only a handful of people can understand, or they write happy criticis - everything is good that they write about. I think that's really not good. I think it's damaged a lot of our critical voices.
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Write a lot. And I mean a ridiculous amount. You have to write so much that you don't mind throwing away and changing things that you've written - which is the second thing you have to do. A lot of young writers are very precious about their words. Don't be - you've got to be ready to burn stuff. You're not as good as you think you are, at least not yet. The more you write, the faster you'll write, and the less you'll mind throwing stuff out.
I can't stress enough how important it is to write bad songs. There's a lot of people who don't want to finish songs because they don't think they're any good. Well they're not good enough. Write it! I want you to write me the worst songs you could possible write me because you won't write bad songs. You're thinking they're bad so you don't have to finish it. That's what I really think it is. Well it's all right. Well, how do you know? It's not done!
The people who review my books, generally, are kind of youngish culture writers who aspire to write books, or write opinion pieces about what they think of Neil Young, or why they quit watching ER or whatever. And because of that, I think there's a lot of people who write about my books with the premise of, "Why this guy? Why not me?"
I think pain is the best feeling for song writing. You can write good happy songs, but I think the kind of bruiting, depressing ones are more effective. They are easier to write when I am impassioned and angry. It is a good way to channel that negative energy.
There are many people who say, I write for myself. I think that if you write and publish, then you write for your readers, not just for yourself. Many writers say that they write to be loved. I place myself among those writers.
There are many people who say, 'I write for myself.' I think that if you write and publish, then you write for your readers, not just for yourself. Many writers say that they write to be loved. I place myself among those writers.
I don't play everything I write. I mean, everything I write is not that good. I bring out into the world the ones I think that are really worthy of an audience's attention.
We write and write and write until we think, 'If we have to shoot this script, we'll be happy, and it's going to be a great movie.' I meet with all the actors two weeks before, and I ask them, 'What lines don't work? What is uncomfortable for you? What jokes do you think aren't good? If you're not getting it, here's what the joke is.' You fix it.
I think my experience as an actor helps me to write anything. It certainly helped me to write 'August Osage County.' It helps me to write any play that I'm working on because I think one of the things I do well is write good roles for actors.
If you want to do this - either write for TV, or write books - the first thing you have to do is write a lot. And I mean a ridiculous amount.
I only write when I'm angry or sad, so because that's when I just have to write... If I'm having a good time and I'm happy and things are going really well, why would I want to stop what I'm doing to go and write at the piano?
I think that most people who write about music just want to fill some paper. They're not really interested in getting to the heart of something. Otherwise, they wouldn't write what they write.
I think that anyone really can write songs, it just takes having an idea and a feeling and chasing it, and you can learn more about it. I think that's why I go to so many sessions. It is a craft that you can learn from other people. I find it to be the most fascinating thing. So I write a lot, yeah!
I think every writer's had the experience of having a really good idea, waiting to write it, and then once you write it, you're like, "Oh I kind of got past the sell by date on this." I'm not connected to the initial spark that was the idea. A lot of that's about staying open.
I don't think you can write from a reactive place. I think you just write the thing you want to write about, and if other people are writing about it, that doesn't really come to bear on what you want to do.
I write fiction longhand. That's not so much about rejecting technology as being unable to write fiction on a computer for some reason. I don't think I would write it on a typewriter either. I write in a very blind gut instinctive way. It just doesn't feel right. There's a physical connection. And then in nonfiction that's not the case at all. I can't even imagine writing nonfiction by hand.
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