A Quote by Julian Barnes
The imagination doesn't crop annually like a reliable fruit tree. The writer has to gather whatever's there: sometimes too much, sometimes too little, sometimes nothing at all. And in the years of glut there is always a slatted wooden tray in some cool, dark attic, which the writer nervously visits from time to time; and yes, oh dear, while he's been hard at work downstairs, up in the attic there are puckering skins, warning spots, a sudden brown collapse and the sprouting of snowflakes. What can he do about it?
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The ‘experimental’ writer, then, is simply following the story’s commands to the best of his human ability. The writer is not the story, the story is the story. See? Sometimes this is very hard to accept and sometimes too easy. On the one hand, there’s the writer who can’t face his fate: that the telling of a story has nothing at all to do with him; on the other hand, there’s the one who faces it too well: that the telling of the story has nothing at all to do with him
The fruit of our labors is sweet when the work is consecrated to God. But we have to be able to weather the conditions - the winds, the rain or the drought, the brilliant sun and sometimes the bitter cold. Sometimes our work needs to be directed at improving our ground rather than excusing our own harvests because the place we have been given is a little hard; there are too many rocks, too many hills, too little top soil. If we focus on where we are instead of what we can do with our plot, we will find our efforts significantly diminished.
Writer-directors are a little bit more liberal, rather than having just the writer on the set, because I think sometimes the writer becomes too precious with the words. If you're a writer-director, you can see what you're doing and see your work in action, so I think you can correct it right there and still not compromise yourself.
do you not feel that sometimes in life one's friendships begin by antipathy - sometimes by indifference - and sometimes by that sudden magnetism of sympathy as if in some former life we had been very near and dear, and were only picking up the threads again, and to such two souls there is no feeling that they are strangers.
I live in Virginia alone, and sometimes there's too much time to think. So you turn on the TV, but sometimes that don't do, so you turn the music on, and sometimes that don't do, and so you try and write a song, and sometimes that don't do... So you just take it as it comes.
While I was there, I was just gathering images and names, and ideas and rhythms, and I was storing all of these things - which I didn't realize I was doing - but I was storing them all in an attic in my mind somewhere. And when it was time to sit down and write songs, when I reached into the attic to see what I was gonna write about, that's what was there.
I've never suffered from writer's block. I have plenty of ideas, sometimes too many. I've always had a strong imagination. If it dries up I'll stop and look for another career.
I always have a very complex personal life as far as romance goes. Sometimes I have a little too much time to get into too much trouble... and drama. It's either I'm working, or I have nothing to do but focus on my personal life. It's a little hectic.
So sometimes things are ahead and sometimes they are behind; Sometimes breathing is hard, sometimes it comes easily; Sometimes there is strength and sometimes weakness; Sometimes one is up and sometimes down. Therefore the sage avoids extremes, excesses, and complacency.
What some people wanted was sometimes too hard to get, and the stress of trying was sometimes too hard to deal with... Maybe doing well in life was just too hard for some people.
Ever since I was a little girl, I've worried too much. It always bothers me because sometimes you end up worrying more about the worry and you are not resolving things that are right there in front of you. I have been like that all my life, and it's hard to change.
Yes?’ he asked, looking at me over the sheet. ‘I’m a writer temporarily down on my inspirations.’ ‘Oh, a writer, eh?’ ‘Yes.’ ‘Are you sure?’ ‘No, I’m not.’ ‘What do you write?’ ‘Short stories mostly. And I’m halfway through a novel.’ ‘A novel, eh?’ ‘Yes.’ ‘What’s the name of it?’ ‘”The Leaky Faucet of My Doom.”‘ ‘Oh, I like that. What’s it about?’ ‘Everything.’ ‘Everything? You mean, for instance, it’s about cancer?’ ‘Yes.’ ‘How about my wife?’ ‘She’s in there too.
The history omankind seems like kite flying; sometimes, when the wind is favorable, we let go the string a little and the kite soars a little higher; sometimes the wind is too rough and we have to lower it a little, and sometimes it gets caught among the tree branches; but to reach the upper strata of pure bliss-ah, perhaps never.
If you work in the city long enough, it begins to deal with you on a personal level. Streets reveal their moods. Sometimes the signal light loves you. Sometimes they fight you. When you're hunting for a new building, you hope the city is on your side. You have to use a little bit of thinking--you might call it the process of elimination--and you need a little bit of instinct, but not too much of either. If you think too hard, you overshoot your target and end up at the Pier or the Tenderloin. If you relax and let the city help, the destination does all the work for you.
I'm a comic book writer, so I work with a lot of artists. Sometimes, you get art back, and you're like, 'Oh, no.' Sometimes, you get art back and you're like, 'That's exactly what I imagined in my head,' and you're happy about that.
Sometimes I'm just a little bit too honest. There was some things that were going on behind the scenes that I didn't like because it's not what hip-hop is about. Hip-hop is about honesty and it's about being real to the people, and I kinda felt like there's some instances where some artists aren't 100% honest with the people. Their integrity is lacking sometimes. And sometimes it comes out.
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