A Quote by Marc Almond
People always go on about sleaze, but I think it's only a small part of what I write about.
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Then you learn about composition, you learn about old masters, you form certain ideas about structure. But the inhuman activity of trying to make some kind of jump or leap, where , the painting is always saying, 'What do you want from me? I can only be a painting.' You have to go from part to part, but you shouldn't see yourself go from part to part, that's the whole point.
One of the things I always underscore when I teach criticism is that young critics, or would be critics, frequently have this illusion that if they write about music they're somehow part of music, or if they write about movies they're part of movies, or of they write about theater they're part of theater, or write about literature. Writing is a part of literature, we belong the species of literature. If you add all the music reviews together that have ever been written, they don't create two notes of music.
It's easier for me to write certain character types because of my own life experiences, but I find it too artistically limiting to only write about red-headed kids who grew up in small town Montana. That's really part of the fun of fantasy, I think. Our imagination is basically unlimited. Okay, that's a terrifying thing about fantasy, too.
It would be too ridiculous to go about seriously to prove that wealth does not consist in money, or in gold and silver; but in what money purchases, and is valuable only for purchasing. Money no doubt, makes always a part of the national capital; but it has already been shown that it generally makes but a small part, and always the most unprofitable part of it.
I try to write about small insignificant things. I try to find out if it’s possible to say anything about them. And I almost always do if I sit down and write about something. There is something in that thing that I can write about. It’s very much like a rehearsal. An exercise, in a way.
When you're making a movie, you don't think about the outcome. That's something I'm grateful for: whenever I go and do a new project, I never think about the outcome. It's always just about the work at hand. That's the fun part. The other part is always something I've had a struggle with, which is promoting the film. I know it's important.
I'm always telling my students go to law school or become a doctor, do something, and then write. First of all you should have something to write about, and you only have something to write about if you do something.
Nothing is better for a young journalist than to go and write about something that other people don't know about. If you can afford to send yourself to some foreign part, I still think that's by far the best way to break in.
Nothing is better for a young journalist than to go and write about something that other people don't know about. If you can afford to send yourself to some foreign part, I still think that's by far the best way to break in
The carer of the disabled person is always in the background. People don't want to hear about the sleaze and the nitty-gritty and the hardship.
People think you have to go through something to write about it, and you absolutely do not. You can write about, like, a shoe. It's a story.
I don't write about anything I don't want to write about. I like to think I could write about anything pretty much that I chose to. I have been asked to write songs about specific things, and I've always been able to come up with the goods.
I write about people in small towns; I don't write about people living in big cities. My kind of storytelling depends upon people that have time to talk to each other.
People always ask me, 'Why do you only write about heartbreak?' I think I only write when I'm broken, so that's just what happens. It makes me feel better, but having some distance helps.
When I journal, I write about images that I've seen that I think might make good stories. I write about things that I hear that I think I can turn into a story. I write about the story that I'm working on and where I think it might go.
Stories about mental aberration and oddity only make sense in context. Just how do people live with someone who is peculiar, gifted, strange or alien? It's odd because there's a little part of me that wants to write about exotic, strange bizarre subjects. Instead, I've rather reluctantly realised that what I write about is families.
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