A Quote by Julianna Baggott

The intricacy of plotting a thriller is akin to writing formal poetry. — © Julianna Baggott
The intricacy of plotting a thriller is akin to writing formal poetry.
I started writing poetry in high school because I wanted desperately to write, but somehow, writing stories didn't appeal to me, and I loved the flow and the feel and sense of poetry, especially that of what one might call formal verse.
Pound described poetry as original research in language, and just as formal experiment in poetry has to try things and has to go too far, so does experiment with writing about politics in poetry and what the politics of poetry is.
When I first started writing 'Still Missing,' I didn't actually realize I was writing a thriller. I thought it was more women's fiction, but during the many years of rewrites, I kept taking out the boring parts, and then my agent informed me that I had written a thriller.
Well, if you're writing a thriller, you have to have your character in mortal jeopardy on page 1 or it's not a thriller.
Most poetry is very formal, but when a modern poet is formal he gets more attention for it than old poets did.
I don't think rap really fits in to 'American Idol' in the sense that I believe rap is an art form in itself more akin to poetry, more akin to drama, if you will.
Religious poetry, civic poetry, lyric or dramatic poetry are all categories of man's expression which are valid only if the endorsement of formal content is valid.
One, something emotional has to be at stake. There has to be something important for me that I'm writing about. And then two, I have to have a formal idea. Something has to be being worked out in poetry.
I was already writing poetry, so I transitioned from writing poetry a cappella to writing over beats, and it was way more exciting to me that way.
I have taught the long poem off and on for years. The more book-length poems I read and studied and taught the more interested I was in the possibilities in writing a poetry that applied formal and substantive options of narrative and non-narrative, lyric and non-lyric. I found many pleasures in this kind of writing. The long poem is as old as the art form.
When I devoted myself to poetry - and poetry is a very serious medium - I don't think the people that knew me as an individual with that tongue-in-cheek kind of humor...well, it didn't always lend itself to my poetry. When you're writing poetry, it's like working with gold, you can't waste anything. You have to be very economical with each word you're going to select. But when you're writing fiction, you can just go on and on; you can be more playful. My editor's main task is to cut back, not ask for more.
It helped my lyric writing so much studying poetry. I thought I knew what poetry was before I immersed myself in it. Poetry is meditative. It's reflective.
I liked to write from the time I was about 12 or 13. I loved to read. And since I only spoke to my brother, I would write down my thoughts. And I think I wrote some of the worst poetry west of the Rockies. But by the time I was in my 20s, I found myself writing little essays and more poetry - writing at writing.
There's a great freedom of forms and intonations in Luigi Fontanella's poetry. He doesn't take a strong formal stand; his poetry entertains moments of nearly proselike colloquial narrative along with moments of powerful lyrical tension. There is a movement of extremes, from powerful tonality to near atonality, and I like this a great deal; it's a stance that very effectively catches the spirit that makes work in poetry possible nowadays.
One good way to start writing poetry is to read all kinds of poetry: not just in order to imitate but to fill up your head with it, to absorb it, to make poetry an essential part of how you view the world.
I began my writing life as a poet, so poetry has always been fundamental. I evolved from poetry to journalism to stories to novels. But poetry was always there.
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