A Quote by Lisa Scottoline
But the fact is, I'm not work-identified. I'm not a lawyer or a writer. I'm a mom, and I'm a woman, and that's the kind of people I want to see in books in the starring role.
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[The Man] was a case where it was a funny role teamed up with another actor. It's a great teaming. And the role was a bigger role. It wasn't so much that it was a co-starring role. This is not a new direction. I'm not saying, 'No. I'm only now co-starring.' It just happens it's a co-starring role.
I want to be identified as a writer, not a Southern writer, not a woman writer, not a woman from this or that place, but unfortunately it doesn't always happen.
It was a fun film. I had a great time doing it. I was looking for a role just like that for my first movie role. I didn't want to have a starring role, because I wanted a chance to learn. I didn't want the whole thing riding on me.
This is why very often you find educated people in the media who look at spiritual books but they are so identified with their thought process, they don't get it. They write reviews or articles and they miss the whole point. They can't see the essence. It's not their fault; it's not them personally. It's the human condition and its mind-identified state. And intelligence in itself doesn't help. You can have two or three Ph.D.s; it doesn't get you any closer to spiritual realization. In fact, you might be more distant.
One wouldn't want to say that what makes a good writer is the number of books that the writer wrote because you could write a whole number of bad books. Books that don't work, mediocre books, or there's a whole bunch of people in the pulp tradition who have done that. They just wrote... and actually they didn't write a whole bunch of books, they just wrote one book many times.
I've had people who see all my characters as Native, even if they aren't. It's kind of like assuming all a writer's characters are really female because the writer is a woman. I've learned to let that go.
I'm aware of the fact that I don't know how to do it all, but I want for my blog to be a place where people can come to ask questions so that I can look for the answers for them. That's the kind of work that I did for my books, and I want to transition that to my blog for more of a community feel.
Temperamentally, Sam and I are very much alike. He's a lawyer, my father's a lawyer, and I always wanted to play one. On so many levels the role just felt right. I fell in love with it as I would a woman.
It's all about the work. Nothing is going to fall into your lap. If you want to be a lawyer, see yourself as a lawyer, go to the library and start learning the law. If you want to be a rapper, start rapping and get out there. Live your life as if you already are where you want to be.
I can write any kind of novel I want, any time, and sell it, but there's not that many people watching it. Even a low-rated TV show is a couple million more people than read my books. You want to be read, in essence. If you're a television writer, you're a writer and you want people to read your stuff. You're still reaching a bigger audience, that way. That's a philosophical way to look at it.
I've never translated more than one book by any author. But I'm fascinated by translators who have, like Richard Zenith, who's translated so much of Fernando Pessoa's work. I get restless for a new kind of influence. The books I've translated are books I want to learn from as a writer, to be intoxicated by. And translation is an act of writing in itself. It's an act of recreation - of a writer's cadence and tone and everything that distinguishes the voice in the book.
Becoming a writer can kind of spoil your reading because you kind of read on tracks. You're reading as someone who wants to enjoy the book but also, as a writer, noticing the techniques that the writer uses and especially the ones that make you want to turn the page to see what happened.
Maybe a young woman will go see a show by a woman, or starring a woman about women's issues, and that will help her get to that quiet place inside of herself where she can then explore what it means to be a woman to her.
With a director it's all about the work; I'd work with a great director over - you know, I'm not the kind of actor who that doesn't go, 'I want to play this role.' It's more like, 'I want to work with this director,' regardless of what the role is because if it's a good director, you'll probably find a good role because it's a decent film. But a mediocre director will always make a mediocre movie.
I'd like to be a better writer, but I have no dreams to direct or do a screenplay. And I'd love to have a big starring role in a movie because the paycheck would be bigger. That's the only reason I do films.
The fact that I'm a woman is as important to my work as a poet as the fact that Ahmad Sh?mlu was a man was important to his work as a poet. Basically, gender shouldn't be viewed as an advantage in art. If a poem or a piece of writing is good, what difference does it make whether it's by a woman or a man? And, if it's bad, why should its writer's gender make it good?
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