A Quote by John Edgar Wideman

When I'm doing the brute work, I do it early in the morning; that's the best time for me to get the stuff down on the page. — © John Edgar Wideman
When I'm doing the brute work, I do it early in the morning; that's the best time for me to get the stuff down on the page.
As a child, I had to get up early for school or work. I'd get ready by myself. I'd set my alarm to wake me up very early in the morning, and be off to work, the family driver driving me every morning. I did it alone, my parents never coming in to wake me up.
Typically, I spend a lot of time - mostly in the morning - kind of drifting, reading, walking down along the river, looking at photographs, or even driving around. Then, if I'm lucky, I get to work in the early afternoon, one way or another.
When I'm teaching, I'm not really doing my job if the student who's always comfortable doing wacko stuff all over the page keeps getting gold stars from me for doing wacko stuff all over the page. A riskier assignment for that student, who might be used to hiding behind a lot of formal armor, would be to try to do something straightforward, traditionally, in which they are much more directly laid bare for the reader.
That's the biggest part of doing comics: You have to create stuff that makes you want to get out of bed every morning and get to work.
Throughout my 20s I spent a lot of time just playing and not really working, but fortunately for me I continued to get just enough work, and have a reason to wake up in the morning. I really empathize with some of my peers who had success in the early years then it dries up, and so there's no reason to get up in the morning.
I am a morning person and start work, whether composing, rehearsing, preparing syllabi/tests, or proofing an article or manuscript, early in the morning before the flood of e-mails, phone calls and disturbances, usually by my four cats! I like to do projects that I can become passionate about - women in the arts and mentoring students. Like all of us, if we enjoy what we are doing, it's not work, and we might even get paid for it!
I never looked at basketball as work. I always enjoyed it as my hobby. I loved it. Once that love is gone, and I'm tired of working out every day and doing all the stuff to get me ready for games, and I'm tired of lifting and conditioning and doing all that other stuff around it, and I'd rather stay in bed, then it's time to go.
The shadows in the early morning don't tell much. The shadows rest at that time. So it's useless to gaze very early in the day. Around six in the morning the shadows wake up, and they are best around five in the afternoon. Then they are fully awake.
I am never at my best in the early morning, especially a cold morning in the Yorkshire spring with a piercing March wind sweeping down from the fells, finding its way inside my clothing, nipping at my nose and ears.
I don't even think any stimulants really help writing. You talk to most guys and they say, "Hey. I wrote this." And they're out of their head or they had a few beers or a bottle of whiskey. You wake up the next morning, it's usually pretty crap. But you know Dylan Thomas wrote some great poetry. Brendan Behan. You never know but ultimately I'd say you have to get up early in the morning and you're usually sober when you write your good stuff; it's hard work. So alcohol, keep it for chilling out, fun, and having a good time. Not for work.
I feel I do my best work when it's all there on the page, and I feel that the character is very vivid as I read the script and I'm not having to create stuff and trying to cobble together something. If I have to do that, then I don't entirely trust what I'm doing.
For a Nebraska kid in the late 1970s and early 1980s, Nebraska football was a quasi-religion, so I ran out to get The Omaha World-Herald every morning, salivating for the sports page. My dad, however, required that I read one front page story and one editorial before I was allowed to turn to the sports.
The first time I got into the studio, when I was 17, 18, I got to work with people who were some part of the Cheiron thing, who did all the early Britney Spears stuff, all the early 'NSync stuff.
I don't like getting up early in the morning and learning all that stuff. I work with offers that I can't refuse.
My first jobs were at Pixar and John Lasseter just doing animation would always allow actors to do that, and then animate to that. It was an early lesson for me that, if you're lucky enough, as I've been in my career thus far, to get really incredible iconic people to do your stuff, you want them to tell your story and you want them to be on page in the important moments, and they usually are.
What I do is not some magical, mystical thing. I simply get up in the morning, get to work on time, say my lines, and do the best I can
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