A Quote by John Gruber
I've always said my audience is just me. It's somebody out there who's exactly like me and just isn't writing Daring Fireball.
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I've always been surprised when a straight guy likes me. It's just been like my whole life has been kinda like that. I definitely felt like when I started writing music, it wasn't writing for a gay audience at all. I was just writing for me. But what I say whenever I get this question is my best friends have always been gay, I've always been, as a person, just accepted by the gay community, and celebrated and had the best nights of my life at gay clubs. Always had a fashion sense usually with drag and I don't know. That's just kind of my people. That's just kind of where I fit in.
There is stuff going on inside me. But I have always been told to go out there and pitch like you can't tell if you just struck somebody out or just gave up a home run. If something bad happens, I don't dwell on it. Just give me the ball and let me pitch.
What social media has done - Facebook, Twitter - is show the audience. I don't have an audience. When I make my work, it just goes out into the ether. I have a thick skin and it just brings me down to earth, you know, to realize how out-there and far away and paltry the audience is that gets what I'm saying. It's depressing if I let it get to me. And it's the same with hanging a show, the way it's put up, like, three stories high and you can't read a single word.
I'm always writing. A friend of mine once said, 'You avoid re-writing by writing.' Which is kind of a good point, because re-writing seems to be mostly about craft, and writing is just, like, getting out your passion on a piece of paper.
The amount of people that have said, 'You've inspired me to be confident. I've come out to my friends because of you,' that reduces me to tears every time, because I'm just, like, little old me from Hull has had an implication on somebody's life. That's massive to me. Massive.
When Kehlani brought me out onstage, I really enjoyed that. I was just appreciative for her to think of me and bring me out woman to woman, introducing me to a whole new audience to me. It was just showing that I was appreciated for what I'm doing, that some people mess with me, and I'm all over the place.
I'm not hungry," Alexander whispered. "I'm famished. Watch out for me. Now, don't make a single sound," he said, moving on top of her. "Tania, God....I'll cover your mouth, just like this, and you hold on to me, just like this, and I'm going to-just like this-
David Wain just texted me and asked me if I wanted to do 'Wet Hot.' And I just said, 'Yeah, sure.' And he said, 'You want me to call you and tell you about the character?' And I was like, 'Not really. Just tell me when, and I'll do it.'
Like I said, I'm just grateful when anyone offers me a job. It's like, "Okay. I'll do it." FBI agent is one, too, when you get older. When you're kind of an older lady hard-ass, FBI tends to happen. It's just because I'd like to work rather than not work, so I'm just happy if somebody wants me to do anything.
I feel so lucky and so privileged that I like writing for myself. Like, I don't have to wait for somebody to create a part for me or a project for me. I can just do it. And that's so great.
"I was just like a pathological liar when I was a kid. I think I just wanted to one-up somebody. Somebody would be like, 'Oh, God, my legs hurt.' I'd be like, 'Your legs hurt? I'm getting mine amputated next week.' And that's actually how my mother found out. She came to school and somebody was like, 'God, that's such a shame about Jennifer's legs.' She made me purge. I had to spill out all of my lies. I was like, 'I said that Dad drove a barge, and we were millionaires, and you were pregnant, I had to get my legs amputated, and I spayed cats and dogs on the weekends.' Now I can't lie.
Christine, as a stage character, is just a way for me to be more daring, to be more out of the box, to be stronger and to use everything that could weigh me down like a fuel, like an energy.
Somebody said writing is easy, you just sit down at your typewriter and open a vein. It depends on the book. Some, I have to do quite a lot of research, which I like. Others are much closer to me.
My song titles have different reasons for the mistakes. "Don't You Evah," that's just the way that I've always said it, and I just thought it was funnier. "Yr." in "You Got Yr. Cherry Bomb", it's that punk-rock way of writing "your," like "Kill Yr. Idols." And "Rhthm And Soul" was just an actual typo that someone pointed out, and I just said, "Well, I guess that's the way it's gonna be."
Basically, it's somebody who got stuck having to interview me who really wants to be a novelist, so they're writing these novellas and I was like, "It's not true, that didn't happen, they just made all that up! Why don't they just go ahead and be a novelist instead of bothering with interviewing me?"
I wish it was clear for me how it happened [stop writing songs], then maybe I could start writing again. But it's kind of an "it." It just submerged itself. Because the way I had always written was just that it came out. It just happened.
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