A Quote by Lin-Manuel Miranda
You could do a 'Les Mis'-type musical about Hamilton, but it would have to be 12 hours long, because the amount of words on the bars when you're writing a typical song - that's maybe got 10 words per line.
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The hardest part is writing a song as a story. A song is so short and there are only so many words that every line has to hit. The words have to flow. You can't say certain words that sound weird next to each other, you can't repeat words too much.
Whatever is original in my writing comes from my musical apprenticeship. I look for rhythm in words. I imagine words as if they were musical chords. Often I'll write something, read it, and find it musically unsatisfactory. There is a musical imperative in my choice of words.
I've dreamt of being in a movie musical for a long time. For some reason I never even thought 'Les Mis' would be possible.
I type 90 words per minute on the typewriter; I type 100 words per minute on the word processor. But, of course, I don't keep that up indefinitely - every once in a while I do have to think a few seconds.
During those times like in my early years as a writer I could actually write a song in ten minutes because all of a sudden a song is writing itself, I'm just putting down words. It just seem each line that you put down flows with the other ones. It's like writing a love letter you don't think about it, it's something from the heart.
It's much easier to write a song for a musical than just writing a song because, writing for a musical, you know what the story is about, so you know what the songs have got to say.
My creative process isn't a long one, so I could have started a song 10 years ago and then finish it 10 years later. It's all just about pushing around words and melodies, for me. The material is kind of shape-shifting.
My musical instrument is Hebrew and, to me, this is the most important fact about my writing. I write in words. I don write in sounds or in shapes or in flavors. I write in words. And my words are Hebrew words.
Every song I've ever written always starts with the words because I want the music to be the musical extension of the feelings of the words, and not the words being the emotional extension of the feeling of the music.
I type 40 words per minute on a normal computer with my left foot. And with two cups of coffee, I can do 53 words per minute.
When I realized I could write lyrics and let someone that I knew listen to them, but not know that the song was about them - say it was a girl. I could write this song about how I feel about this girl, I could play it to them. I just loved it, because all of the words would speak to them. I could see them slowly falling in love with me.
It seems like I've been writing since birth! I started writing poems before I got to school. I wrote the class musical in first grade - both words and music. It was about a bunch of vegetables who got together in a salad. I played the chief carrot!
Clive [Davis] tried to tell me that saying certain words in a song - or as he says, 'putting some balls into it' - isn't bad, it's just strong emotion. Well, there are certain words and emotions I don't want kids hearing, and I'm not changing because they think it's going to sell better. This is going to sound horrible, but I got 12 million votes doing what I did.
I think writing is a part-time career, because otherwise you get a little stale, maybe even self-indulgent, when you have to fill the hours with sentences. I don't think, if I wrote 12 hours a day, my work would be much better.
I say to people, 'Do you have any idea how hard it is to do that, to write 7,000 words in 10 hours or 12 hours for the front page of the 'New York Times' and to know that they trust you so much that that it's going to lead the paper?' It's hard. I mean, it's a feat.
The average daydream is about fourteen seconds long and we have about two thousand of them per day. In other words, we spend about half of our waking hours - one-third of our lives on earth - spinning fantasies.
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