A Quote by Kim Elizabeth
When I write I simply follow my heart. And my flights of fantasy. It is not done with a conscious effort. I'm continually inspired and write reflexively.
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What you want is practice, practice, practice. It doesn’t matter what we write (at least this is my view) at our age, so long as we write continually as well as we can. I feel that every time I write a page either of prose or of verse, with real effort, even if it’s thrown into the fire the next minute, I am so much further on.
I find fantasy easier to write. If I'm going to write science fiction, I spend a lot more time thinking up justifications. I can write fantasy without thinking as much. I like to balance things out: a certain amount of fantasy and a certain amount of science fiction.
If you are going to write, say, fantasy - stop reading fantasy. You've already read too much. Read other things; read westerns, read history, read anything that seems interesting, because if you only read fantasy and then you start to write fantasy, all you're going to do is recycle the same old stuff and move it around a bit.
I used to write when I was in the mood or felt inspired. Anymore, I write whether I feel inspired or not. It's a discipline. So that's definitely different. It's part of maturing as a person and as a professional.
(W)hat I write when I force myself is generally just as good as what I write when I'm feeling inspired. It's mainly a matter of forcing yourself to write.
Amateurs write when they are inspired. Professionals are inspired when they write. This is a subtle but important distinction.
Encourage children to write their own stories, and then don't rain on their parade. Don't say, 'That's not true.' Applaud flights of fantasy. Help with spelling and grammar, but stand up and cheer the use of imagination.
I make no conscious effort to be tough, or hard-boiled, or grim, or any of the things I am usually called. I merely try to write as the character would write, and I never forget that the average man, from the fields, the streets, the bars, the offices and even the gutters of his country, has acquired a vividness of speech that goes beyond anything I could invent, and that if I stick to this heritage, this logos of the American countryside, I shall attain a maximum of effectiveness with very little effort.
The way I write things, I just write them with a clash between reality and fantasy mostly. You have to use fantasy to show different sides of reality; it's how it can bend.
I write from what's in my heart. I write what I love and have always done that.
The writing is done on the computer, and the drawing is done by hand. I write, write, write, then I hit the illustration.
I write to invite the voices in, to watch the angel wrestle, to feel the devil gather on its haunches and rise. I write to hear myself breathing. I write to be doing something while I wait to be called to my appointment with death. I write to be done writing. I write because writing is fun.
My teachers always said, "You're very talented, but don't set your heart on art. You're only a girl." I was inspired by Virginia Woolf in 1960, but they wouldn't let me write about her. They said she was a trivializer. I also wanted to do a paper on Simone de Beauvoir, and my philosophy teacher said, "Why would you write about the mistress? Write about the master." That was Sartre.
Now, I don't expect what I write to change things. I think I write now simply as a witness. This is how it is. This is what we have done. This is what we have permitted.
I want my writing to reach people. I don't write for a market. I write from my heart, something that appeals to me. The marketing, segmenting etc., can be done by your publisher, not you.
I keep threatening to write a non-fantasy book, and they keep offering me the kind of money I can't refuse to write a fantasy. That's a good thing. I have to pay my mortgage, and I have to pay for my Chargers season tickets.
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