A Quote by Lois Lowry
I don't set out to transmit a message. I don't write with a political point of view. There are no religious overtones. Looking back at my books, I can say, 'Oh, yes, it is there.' But it's not in my mind when I write.
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My readers often tell me that what they admire about my books is my ability to write from so many points of view. My challenge to myself is whether I'll ever be able to write a novel just from one point of view. It seems impossible.
Take out another notebook, pick up another pen, and just write, just write, just write. In the middle of the world, make one positive step. In the center of chaos, make one definitive act. Just write. Say yes, stay alive, be awake. Just write. Just write. Just write.
The Divine Comedy is a political poem and when you say poetry is not about - he's always quoted out of context, that "poetry makes nothing happen," that doesn't mean you shrug your shoulders and don't try to make anything happen. And Dante felt that poetry was engaged, there was a point of view; it's not my point of view, it's orthodox medieval Christianity, and I have my troubles with that. He didn't feel that you could just rule out so important a section of life - we care about these things, and it's out of caring about them that we write poetry.
When I set out to write a screenplay, I have in my mind a beginning and an end but that end part continually changes as I start to write the middle. That way by the time the screenplay is finished I have taken myself and my audience from a familiar beginning point through the story to an unfamiliar ending point.
I suspect there are two kinds of novelists. Those who have a point of view and have something to say and then write a novel in order to say that thing, and those of us who write the book in order to find out what we think about that thing.
When you write for somebody else, you've got to write from their standpoint. You can't really write from your own point of view.
I don't set out to write a political song. I am not one of those that feels compelled to write about what's going on.
I write songs from the point of view I had at a time;I'm not tryingto write songs from a young person's point of view.That only ends in disaster.
I just try to put the thing out and hope somebody will read it. Someone says: 'Whom do you write for?' I reply: 'Do you read me?' If they say 'Yes,' I say, 'Do you like it?' If they say 'No,' then I say, 'I don't write for you.'
Often they [writers on the study of management] have a point of view based upon intuition and experience. They then offer a cadence of two-paragraph examples carefully selected to "prove" their theory, and then they write "one size fits all" books. The message is, "If you'd do what these companies did, you'd be successful too."
You could say, 'Oh, we're gonna write the heaviest album of all time' or 'We're gonna write an album that sounds like 'Iowa.'' Even if we set out to try to do so, it would never compare. We're not those people anymore, we're not that band anymore.
Writers are troubled about finding time to write and writer's block and publicizing books that aren't books yet. They agonize over how to write and what to write and what not to write.
When I would sell encyclopedias, I would drive down the road looking for a house with a swing set in the back, and I'd say, "Oh, those folks got kids. They need some books." I'd knock on their door and sell them a set of encyclopedias, and those books were from $300 to $600. I'd look around the house, and if there wasn't that much furniture in the house, I felt a little bad about selling a $600 set of books to people who couldn't afford a couch. So I didn't last at that job very long.
If I was asked to do a film that was just trying to sell a political point of view or religious point of view, I wouldn't do that because that's a bad script.
I've reached a point in life where it would be easy to let down my guard and write simple imagistic poems. But I don't want to write poems that aren't necessary. I want to write poems that matter, that have an interesting point of view.
Yes?’ he asked, looking at me over the sheet. ‘I’m a writer temporarily down on my inspirations.’ ‘Oh, a writer, eh?’ ‘Yes.’ ‘Are you sure?’ ‘No, I’m not.’ ‘What do you write?’ ‘Short stories mostly. And I’m halfway through a novel.’ ‘A novel, eh?’ ‘Yes.’ ‘What’s the name of it?’ ‘”The Leaky Faucet of My Doom.”‘ ‘Oh, I like that. What’s it about?’ ‘Everything.’ ‘Everything? You mean, for instance, it’s about cancer?’ ‘Yes.’ ‘How about my wife?’ ‘She’s in there too.
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