A Quote by Jim Crace
I'm not thinking when I'm writing, 'How's this going to read?' Or, 'What percentage of the audience is going to stay with me?' The thing itself is what gives me pleasure. Sometimes stuff just falls onto the page so beautifully and happily that it's deeply satisfying. It's selfish!
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I don't care about people kissing my ass or telling me how great I am. I don't really give a damn. I read the bad stuff a whole lot more than I read the good stuff. I read that because there are always going to be critics who are going to say how good you aren't.
Having my dad play for the Falcons, what it did was really to expose me to a whole bunch of other elite-level athletes, which I think gives me an advantage and allowed me to understand what goes into sports. It is more than going out onto the field and going out onto the ice and competing.
Rather than, as an actor, I want the audience to like me, I'm going to smile beautifully and I've got everybody's sympathy - what about showing the moments when somebody is unbelievably petty? Or really selfish? The faults, the little things, those are the things that interested me about playing the character.
With a novel, you have to have a story. It's much more important to have it matter to the reader what happens to people, and it has to make sense and end in a way that is satisfying. So I spend a lot more time thinking about that. Then the writing itself usually is easier for me, because I know where it's going.
Well, I was thinking this very thing. I was thinking: I am going to die today, but Jesu also died, so he knows how it is with me. And I was thinking, would he know me when I came to him? Yes! Sitting in his hall, he will see me sail into the bay, and he will run down to meet me on the shore; he will wade into the sea and pull my boat onto the sand and welcome me as his wayfaring brother. Why will he do this? Because he too has suffered, and he knows...HE KNOWS...Is that not good news?
You are going to fail in sport, you are going to win sometimes, you are going to be criticised sometimes, you are going to be applauded - so it gives you... well, it's certainly given me anyway, those real-life lessons that make you bulletproof.
The thing that's important for me to focus on is the balancing of the tension between satisfying myself and satisfying an audience, and making something that I think is good and funny, worthwhile, small-"i" important, versus something that's going to do well.
The difference when I'm writing a story versus writing a joke is that writing a joke is so much more about the structure and it's less about the conversation. To me, the thing that I love about stand-up is the intimacy between performer and audience.To get it even more conversational was something that really appealed to me and that I really enjoyed doing. My early experiments with it, with just telling a story from my life on stage, it was so satisfying to do. And seemingly for the audience as well. It's a different thing, and it's a different feeling and a different vibe.
When you are writing a spoken word poem, the tools you're working with are your voice, your body, how it's going to sound to someone when you're saying it out loud. Which is different from when you're writing it on the page. That toolbox becomes how does this look visually on the page, how does this read among pages, how is this in relation to poems that are before it or after it. I don't think one is better or more successful than the other. You've just gotta think about "what are the tools I'm using, and how are they most effective in this form?"
I love humor in writing, so I've written to the thing that's funny, there's the joke, but then I just kept going. I started thinking about all the bikes I've had stolen, and that got me thinking about crime, and that got me thinking about the city I'm in.
Sometimes, writing songs is like waiting in for deliveries. They give you a window, and your washing machine is going to show up, whether the window is the album or something you're thinking, like, 'This thing is going to come to me.'
Often, when I want to read something that is satisfying to me as theology, what I actually read is string theory, or something like that - popularizations, inevitably, of scientific cosmologies - because their description of the scale of things and the intrinsic, astonishing character of reality coincides very beautifully with the most ambitious theology. It is thinking at that scale, and it is thinking that is invested with meaning in a humanly evocative form. That's theology.
With my career, everything I do is me. There's no one that handles telling me what I should be about or how I should dress or anything. I'm hands on with absolutely everything. When I'm writing a song, I'm already thinking of the visual for the song and I'm already thinking of what I'm going to wear in that visual and what I'm going to wear when I perform. It all goes hand in hand. Everything I do is just me expressing different sides of myself.
Writing is my passion. It is a way to experience the ecstatic. The root understanding of the word ecstasy—“to stand outside”—comes to me in those moments when I am immersed so deeply in the act of thinking and writing that everything else, even flesh, falls away.
People ask me all the time how I prepare and, to tell you the truth, I think if what's on the page is rich and compelling, as far as I'm concerned, if it's beautifully presented on the page, all you have to do is put yourself there and pretend, and the rest takes care of itself. That is, unless it's a real stretch with an accent or if history matters where research has to be done.
I think that the Holy Spirit works through the pastors of the church. It helps me avoid the trap of writing to the reading market. It helps me stay a pastor first, because they have no agenda; they are not thinking: "This would this be a good book someday." They're thinking: "How this will help Bob and Suzy who are going through a tough marriage? What series can encourage them?" And so I really bow to their preference.
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