A Quote by Lisa Morton

While I do, of course, now feel the pressure having had books that have been very successful, I just know I have to concentrate on writing for myself. I can't worry about genres or markets or what might be commercial or not. That never works.
Some say I'm an overnight success. Well, that was a very long night that lasted about 10 years. But while I do, of course, now feel the pressure having had books that have been very successful, I just know I have to concentrate on writing for myself. I can't worry about genres or markets or what might be commercial or not. That never works.
I think the big thing is that Stephen King is just a phenomenon, and when he came along, for the first time horror was suddenly considered a very commercial genre. It had always been around, of course, but now, the books had the word 'horror' actually printed on their spines.
When I think about it like that, it feels like a burden. But that won't mean I'll be single for the rest of my life - I hope. I feel very settled with myself in my world. I don't feel as needy and desperate to prove things about myself. In my twenties I was very keen to achieve this and disprove this and that. Now I enjoy just being able to concentrate on my children and my work and myself.
I struggled with the pressure of having the successful record after the first record. Second album syndrome. I'm living proof; it's very real. It was like a psychological battle to be creative. I used to never feel pressure to be creative; it's always just been a fun thing. And then suddenly it's my job, and people are asking, 'Where's the record?'
In Poland, for a while, my books all had cartoons on the cover. I trust my publishers in each country to know what works in their individual markets.
I've always been very shy and sheltered; I think it was a good way of starting to communicate with people. I was taught as a child never to talk about myself, never to talk about my emotions. Of course, now I talk about myself constantly. Now I have to take reverse est.
I think writing kind of burns out the flaming question. Sometimes it might feel like when you're living with certain paradoxes and they're unarticulated, you feel pressure to choose. I feel more comfortable living in the paradoxes that I've named and laid out, whereas when I started they might have felt like real agitations. At least I see them more clearly after having sketched them for myself and made a place to stand in relationship to them that felt okay enough to last through the course of a book.
I've been lucky enough to have made enough of these types of children's books that while I don't necessarily know what works, I know what doesn't work. I've got a sense of the rhythm and the form. With this series, I get to play with ideas that I would never have myself.
Regarding scripts and projects, I've always been open to reading all sorts of genres and never closing myself off to one, because you never know what you might find.
It was a lot easier to write songs before I had a record deal, because the record labels and the industry doesn't mean to put pressure on you, but they do. They don't realize that they are, but you end up having a pressure there that you feel. At times I feel myself wanting to say, 'Just let me do what I do.'
I feel very strongly about the legacy of Ghost and I'm the next part of that chapter and hopefully a very long and continuing story through the franchise of Ghost in the Shell which is already a huge universe. So yes, I felt pressure, but you always feel pressure as an artist creatively in any endeavour you do, so you just have to do the best that you can do and then hope that is successful.
Outside the golf course, I feel the pressure, and I feel what everybody else is feeling. But on the golf course, it's just the golf ball and clubs. And when I have that, it just puts a lot of pressure off of me. It just makes me very calm looking at it, yeah.
There's always pressure, a great deal of pressure, when writing, since my first books were so successful.
When we advocate for violence against women to be eliminated on campuses, we say, 'Well, actually, it's not just on campuses we have to worry about.' We might have to worry about high schools. We might have to worry about police precincts and cars. We might have to worry about public housing.
I like pressure. Pressure doesn't make me crack. It's enabling. I eat pressure, and there might be times when I get a bad feeling in my gut that this might be too much, but you feel pressure when you're not doing something, you know?
Some newer writers worry about books set in Canada having a big appeal, but it has never been an issue for me. I haven't wanted to write in the States because I don't know the States.
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