A Quote by Kimberly Willis Holt
Even though writing articles relies completely on truth, you still must tell an interesting story. You can't worry about people knowing who you are and whether or not they want to read your stories.
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Don't worry about trying to develop a style. Style is what you can't help doing. If you write enough, you draw enough, you'll have a style, whether you want it or not. Don't worry about whether you're "commercial". Tell your own stories, draw your own pictures. Let other people follow you.
God wants your ministry to flow from the realization that you are a beloved child of God. In that place you don’t worry too much about how people see you. You don’t worry too much about whether they’re nice or mean. You don’t even worry about whether they love you or hate you. You don’t worry because you’re simply going to love them and love Him. This comes from knowing who He is and what He thinks of you. This is what it means to grasp you are a child of God.
All stories have a curious and even dangerous power. They are manifestations of truth -- yours and mine. And truth is all at once the most wonderful yet terrifying thing in the world, which makes it nearly impossible to handle. It is such a great responsibility that it's best not to tell a story at all unless you know you can do it right. You must be very careful, or without knowing it you can change the world.
It's 2014, and adults are still writing articles about whether other adults should read comic books or not.
For in Calormen, story-telling (whether the stories are true or made up) is a thing you're taught, just as English boys and girls are taught essay-writing. The difference is that people want to hear the stories, whereas I never heard of anyone who wanted to read the essays.
I hate the new word processors that want to tell you, as you're typing, that you made a mistake. I have to turn off all that crap. It's like, shut up - I'm thinking now. I will worry about that sort of error later. I'm a human being. I can still read this, even though it's wrong. You stupid machine, the fact that you can't is irrelevant to me.
Even though I was super personal with 'American Teen,' I want to tap in and not just tell my own stories but tell the stories of other people - so that I can help as many people as possible.
When I was writing 'Trick it,' the inspiration for this song came out of nowhere! The song is about the little white lies you tell to people you care about, even though you can always tell the truth.
I don't tell a story unless I have a very deep bench. If you tell an idiosyncratic story, there's no resonance. People read it and say, "I don't see anyone like that." So I tell a story only when I have many stories behind it.
When I'm writing a script, I don't worry about plot as much as I do about people. I get to know the main characters - what they need, what they want, what they should do. That's what gets the story going. You can't just have action, you've got to find out what the characters want. And then they must grow, they must go somewhere.
I want to be in the studio. I want to be doing something. You just do whatever is at hand, and you don't even worry about whether it's going to be interesting or not interesting to anybody else-or even yourself. You just have to make something.
I don't think we need a critic to negotiate with the audience. People say, "Who are you writing for?" I'm writing for myself but my audience is anybody who knows how to read. I think a story should engage anybody who knows how to read. And I hope that my stories do, maybe on a different level for more sophisticated readers than, say, a high school kid, but still a story has got to grab you. That's why we read it.
In the '90s, we are all our own gurus, offering truth to each other. My message is that we all have a truth inside of us that we must tell. The synchronicity of life is all about becoming clear, knowing what that truth is, watching and taking advantage of the opportunity to express that truth, and knowing how to present it.
[Eugene Smith] was always writing these diatribes about truth, and how he wanted to tell the truth, the truth, the truth. It was a real rebel position. It was kind of like a teenager's position: why can't things be like they should be? Why can't I do what I want? I latched on to that philosophy. One day I snapped, hey, you know, I know a story that no one's ever told, never seen, and I've lived it. It's my own story and my friends' story.
This is not necessarily the answer people want, but ultimately, I think writing is an amoral process. Your ultimate responsibility is to the truth of the story you're trying to tell.
Life is a story. You and I are telling stories; they may suck, but we are telling stories. And we tell stories about the things that we want. So you go through your bank account, and those are things you have told stories about.
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