A Quote by Lena Dunham

When I write I'm never really thinking about themes or the universal. — © Lena Dunham
When I write I'm never really thinking about themes or the universal.
I never thought I would write about the Book of Revelation. It's so dense; it's so complex and puzzling. But then I found I was thinking about a number of themes, one of which has to do with politics and religion.
Any underrepresented audience loves to see themselves on TV, but what's more important is that we're writing about universal themes - good versus evil, can you change yourself? These themes resonate for everyone.
I write music as a staff writer for Universal Music Group, and I have since 2007. I've never talked about it publicly because I wanted to earn the right to be in the same room as the great writers I write with and not shoot my mouth off because I'm an actor. It's really important to me, and I really care about it.
I'm always thinking about the next record. I've got like 20 different themes and then I'll scratch the themes. It's a learning process.
I never really approach any project or story thinking of themes first or what a certain character 'represents.' Maybe other writers do, but for me, it just starts with the characters and a certain emotion I want to convey. It usually isn't until I get deeper into a book and look back a bit that I start to see the themes, etc.
I don't really analyze my stuff when I write. I write about stuff that I'm interested in, that I'm feeling at that particular time. When I stand back and look at the complete work, I might see themes that run through the whole film, but I'm not really conscious of it when I'm doing it.
I never really thought about my music being universal. When I set out to write, it was just a feeling that felt good to me. I never thought about being able to reach everybody.
I never really thought about my music being universal. When I set out to write, it is just a feeling that feels good to me. I never thought about being able to reach everybody.
I think age is really changing how I write and the themes that I connect with. But there are also things I'm really intrigued about.
People say, write what you know, but it's really, write about what obsesses you. Write about what you're thinking about all the time.
We never write anything with themes. We just write the same rubbish all the time.
I was thinking about all these things and more, but I wasn't really thinking about them at all. They were just there, floating around in the back of my mind, thinking about themselves. What I was really thinking about, of course, was Lucas.
I've always been a writer who tackles complex themes and risky subjects - I write about the things that people think but never say aloud.
I think at this point I only write books about questions I really want to figure out. They're indulgences, essentially. I think, 'What would I like to spend five years really thinking about? What could I gain from thinking about for five years?'
Something I always tell students is, when you're writing something, you want to write the first draft and you want it to come out easily in the beginning. If you're afraid to say what you really have to say, you stammer. [...] You're judging yourself, you know, thinking about your listener. You're not thinking about what you're saying. And that same thing happens when you write.
If somebody asks me about the themes of something I'm working on, I never have any idea what the themes are. . . . Somebody tells me the themes later. I sort of try to avoid developing themes. I want to just keep it a little bit more abstract. But then, what ends up happening is, they say, 'Well, I see a lot here that you did before, and it's connected to this other movie you did,' and . . . that almost seems like something I don't quite choose. It chooses me.
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