A Quote by Kelly Asbury

Animation tends to have several different writers who serve different functions. I think, on a lot of animated features, there are a lot of writers who don't get credited. It's the policy at Disney, for instance, in deciding who gets credit. It depends on the writer's contract, so many things.
The fact is, unlike a lot of writers, I credit the people who help me. A lot of writers out there have a ton of researchers and they don't get credited in the book.
I was very briefly under contract to Disney Animation, to develop ideas for animated features. They don't like you to use the word "cartoon" around there.
Writing is not a great profession as a lot of writers proclaim. I write because this is something I can do. Another thing—very often I think a lot of writers write because they have failed to do other things. How many writers can’t drive? A lot. They’re not practical. They are not capable in everyday life.
I've worked with a lot of different producers, a lot of different writers on the album, so I mostly feel like I learned a lot about what I don't want to do the next time around.
A big part of directing animation is deciding what you really want to do and making sure it's about something. My favorite thing about animation is the storytelling. You can really dig into the story and spend time with the writers. The writers don't just write and leave.
An awful lot of thriller writers write women rather badly. So just doing it OK gets a lot of credit.
I'm extremely proud I was born and raised in the Bay Area and loved representing Oakland. I started recording in the Bay Area and worked with a lot of different producers. But I always wanted to collaborate with different writers and get different perspectives.
I think one of the things the writers' festival does that is very good is that it brings writers from around the world and around the country and locally and puts them all in the one spot together, and that's what a lot of the world's great writers' festivals do.
I think all writers are different. I've been with a few writers; they're all different.
My father was a writer; I've known a lot of children of writers - daughters and sons of writers, and it can be a hard way to grow up.
What is difficult is the promotion, balancing the public side of a writer's life with the writing. I think that's something a lot of writers are having to face. Writers have become much more public now.
There are so many different types of writers. It's just sheer coincidence that they're all called writers.
Writers often have a 'drunk' that is different than anyone else's. That's why it's so insidious and so damning. First of all, because they can write when they're drinking - or they think they can. A lot of writers will tell me - and this is the latest one I've heard - you drink while you're thinking about what to write, but when you actually write, you sober up.
I do enjoy having researchers and writers around me because I am getting a lot of different influences now from the opposite sex, different races, people of different ages, who are helping write the routines. So I am seeing things from other people's perspectives, which I never really had to do before.
What's interesting in scripted TV is different than what's interesting in reality TV. Each of their departments have their development process where they package things and put together the writers and put together the producers and the different elements and develop the projects. By the time you get to a network or to a studio, you're able to say this is the project, here's who the producer is, sometimes even here's who the star is, here's who the writer is. It's a well-developed project by the time it gets to the studios.
It's important to get well-rounded right off the bat. A lot of experienced dancers can get pigeonholed into one thing. I've been hired for a lot of different gigs simply because I can do a lot of different things with different levels of dancers. And it's sad to me that some dancers don't do more.
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