A Quote by Lisa McMann
One of my favorite ways to write paranormal, as in the 'Wake' trilogy, is to write very normal characters with just a hint of something other-worldly. Like somewhere, maybe, someone really can get sucked into other people's dreams.
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I've been a huge fan of all things paranormal my whole life. For me, it was always a question of when, not if, I was going to write a paranormal series. I dipped my toe in the genre by incorporating a mystical curse into the 'MacCarrick Brothers Trilogy.'
Even if you are lucky enough to sell a trilogy, you don't know if you'll ever get to write that whole trilogy. I have many friends who had very long arcs planned in multi-book series that they never got to write because the first book didn't perform.
I can't write anything for myself. I can write when I hear like [John] Coltrane play something; I used to write chords and stuff for him to play in one bar. I can write for other people, but I don't never write for myself.
I love to write. I used to be a math teacher. And I like the idea that other people could write about the same subjects, but no one would write it just the way I do. It's very individual: a child could write the same story as somebody else, but it wouldn't come out the same.
Every writer writes in different ways, and so some write the music first, while others write the lyrics first, and some write while they are doing other things, and it is just nice to see how other writers are writing.
I write in spurts. I write when I have to because the pressure builds up and I feel enough confidence that something has matured in my head and I can write it down. But once something is really under way, I don't want to do anything else. I don't go out, much of the time I forget to eat, I sleep very little. It's a very undisciplined way of working and makes me not very prolific. But I'm too interested in many other things.
To write an album takes so much focus and selfish time, to just write and think about your life. For me. Maybe not for other people.
I don't know who they are[my characters] . They're entirely invented characters. Maybe that's how I've been able to write so many books, because there are no boundaries for me. I can write a completely fantastical story like "Swept Away" or "Blinded by the Light" and then a non-comic drama like "Chicxulub" or something like "Birnam Wood" that has autobiographical underpinnings. Why not?
I think when you write songs, you write about people... People are the source of my material. And London is a wonderful place to be for people. So, the next time you're sitting in a park somewhere, and you see someone like me looking at you, don't phone the police. I'm just writing
When I write something simple I'm always really proud of it. When you write something that simple with that much air in it and the whole premise behind it is something pretty obvious - that everybody wants to be happy and free - the song is sort of an exercise in not forgetting that's what you really want and what you really need. We can get caught up in a lot of other stuff.
I like to write pop songs and the stuff I write is fairly poppy, so I thought maybe my lot in life was to write pop songs for people. It never felt right writing songs for other people to sing, though.
When people ask me what my dream role would be, I tell them that it's to play someone very dark. Very dark - like someone involved in the drug world or some other criminal venture. Maybe someone who's delusional or not all there or just not well. I really hope I can do that one day.
When you're writing something to direct, you just write exactly what you're going to do. You don't have to write it in a way for other people to understand or interpret.
I try to be outraged by things that other people are just very accepting of, as though they're normal and can't be changed. A lot of what I write about is, "Hey, you know, this stuff is really awful, and it doesn't need to be, and that's why it's so offensive." Things should be better.
I try to be outraged by things that other people are just very accepting of, as though they're normal and can't be changed. A lot of what I write about is, 'Hey, you know, this stuff is really awful, and it doesn't need to be, and that's why it's so offensive.' Things should be better.
When I first started writing, there was no way I'd write a sex scene. That just seemed impossible. That's why in "Fight Club" all the sex happens off-screen. It's all just a noise on the other side of the wall or the ceiling. I just couldn't bring to write in a scene like that. So one of the challenges with "Choke" was I wanted to write sex scenes until I was really comfortable just writing them in a very mechanical way.
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