A Quote by Lauren Iungerich
I think there's a lot of really good programming on television. What I've noticed, through the years of being a professional writer, is the watering down process of story. You have to market to the masses and not offend anybody.
Quote Topics
Quote Author
Related Quotes
Artists are not helper monkeys; they’re not in it to visualize 'your' story, because it stopped being 'your' story the moment you engaged in a collaborative medium. From here on in, it’s also the artist’s story, and if you’re working with an illustrator who’s any good at all, you as a writer have to tamp down any control-freak tendencies you suffer under and relax into the process.
My story wasn't one of those cliched stories of being an ugly duckling, I had a pretty good time at school. But then I think being six foot by the age of 15 meant that I couldn't help but be noticed, and that was when my physical being felt quite painful - I could not any longer walk into a room without being noticed.
I never intended to be a professional writer; as the story developed, the one thing I had in my hopes was that this would be something tangible to separate me from the nameless, numbered masses.
I think with drama, at least for me, my process, there's a lot of thought. I do a lot of back story. I listen to a lot of music. I'm very committed to a process when it comes to drama, but with comedy, I think it's really about letting loose.
Writing is not magic. It’s a craft, a process, a set of steps. As with any process, things sometimes break down. Even in a good story, the writer runs into problems. So the act of writing always includes problem solving.
The fact that Edward Snowden didn't approach the New York Times hurt a lot. It meant two things. Morally, it meant that somebody with a big story to tell didn't think we were the place to go, and that's painful. And then it also meant that we got beaten on what was arguably the biggest national security story in many, many years. Not only beaten by the Guardian, because he went to the Guardian, but beaten by the Post, because he went to a writer from the Post. We tried to catch up and did some really good stories that I feel good about. But it was really, really, really painful.
To create a market for your writing you have to be consistent, professional, a continuing writer - not just a one-article or a one-story or a one-book man.
The idea that a bell rings to signal when investors should get into or out of the stock market is simply not credible. After nearly fifty years in this business, I do not know of anybody who has done it successfully and consistently. I don't even know anybody who knows anybody who has done it successfully and consistently. Yet market timing appears to be increasingly embraced by mutual fund investors and the professional managers of fund portfolios alike.
There are a lot of inaccuracies out there when it comes to the SEAL training process. You will see guys carrying logs around on television. They think that the hardest part about being on a SEAL team is getting through that training. The fact of the matter is, if you have a good attitude, that training is fun. I had a blast.
I think I would have been a writer, anyhow, in the sense of having written a story every now and then, or continued writing poetry. But it was the war experience and the two novels I wrote about Vietnam that really got me started as a professional writer.
I've chosen television because of the quality of material that I'm offered, not being a writer, so I've turned a lot of features down.
I think my first story sold for $550. This was in 1954, and it seemed like quite a lot of money, and I said to myself, 'Hey, I'm a professional writer now.'
In recent years we've seen an explosion of creative programming, and I think it represents a third golden age of television because the creators have more control over the story. The audience doesn't care about the platform. They care about the content.
I think the writer makes a good story good or a good story bad. The writer has a great deal of responsibility.
I'd love to have written a film and it to be regarded as good. I'd just like to be doing things that are good, really. I think that's all you can aim for. I find it odd when actors say they just want to do films or plays or television. A lot of films aren't very good; a lot of television isn't very good; a lot of plays aren't very good.
We never really set out to talk about California on the album ['California'], it was something that we noticed that was happening about three-quarters of the way through the recording process. We were looking at which songs we thought would make the record and we realised that there was this theme coming through. I think it's just a product of being in California for as long as I have.
Related Authors
Ayn Rand Quotes
Russian
Writer
C. S. Lewis Quotes
British
Writer
Francois de La Rochefoucauld Quotes
French
Writer
Gilbert K. Chesterton Quotes
English
Writer
H. L. Mencken Quotes
American
Writer
Haruki Murakami Quotes
Japanese
Writer
Kurt Vonnegut Quotes
American
Writer
Leo Tolstoy Quotes
Russian
Writer
Mark Twain Quotes
American
Writer
Mason Cooley Quotes
American
Writer
Ray Bradbury Quotes
American
Writer
Samuel Johnson Quotes
English
Writer
Seth Godin Quotes
American
Writer
Sherrilyn Kenyon Quotes
American
Writer
Suzanne Collins Quotes
American
Writer