A Quote by Margaret Bourke-White
I'm afraid my closely guarded solitude causes some hurt feelings now and then. But how to explain, without wounding someone, that you want to be wholly in the world you are writing about, that it would take two days to get the visitor's voice out of the house so that you could listen to your own characters again?
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I always try and get one 'good run' in, which for me is about 5 miles without stopping. On most other days, I run so I can get out of the house and catch some fresh air or listen to some music or just escape the world for 45 minutes or so, and on those days, I'll still walk/run.
When a new record came out, the world would stop that day, and we would sit in somebody's house - whoever had the best stereo system - and sit in the middle of the two speakers and listen and discuss and listen again and go over the album notes and get out the guitar and start playing it and discuss and play some more.
You would not hang out with people that talk to you the way you talk to yourself. So get out of your head! Your feelings! Your feelings are screwing you! I don't care how you feel! I care about what you want! And if you listen to how you feel, when it comes to what you want - you will not get it. Because you will never feel like it.
I like to write. Sometimes I'm afraid that I like it too much because when I get into work I don't want to leave it. As a result I'll go for days and days without leaving the house or wherever I happen to be. I'll go out long enough to get papers and pick up some food and that's it. It's strange, but instead of hating writing I love it too much.
Over the next four days, I want you to write about your deepest emotions and thoughts about the most upsetting experience in your life. Really let go and explore your feelings and thoughts about it. In your writing, you might tie this experience to your childhood, your relationship with your parents, people you have loved or love now or even your career. How is this experience related to who you would like to become, who you have been in the past, or who you are now?.
Somebody's real voice is probably the hardest one that somebody could attempt. The characters are all, believe it or not, rooted in a reality of some sort. I've met and talked to people, and they're also fusions of showbiz periphery. But the best thing was, if you did your own voice and you were the star of the show - if it came to blows and they had you on the ropes and you had to leave, then they could just get someone to sound exactly like you.
If you are angry, why not try this. Write a letter. Pour out all of your feelings, describe your anger and disappointment. Don't hold anything back. Then put the letter in a drawer. After two days, take it out and read it. Do you still want to send it? I've found that anger and pie crusts soften after two days.
Our feelings can be hurt, but you can take a yoga class, you can pray, you can play some basketball - you can figure out things for your hurt feelings.
It's something that's difficult to explain but I think all writers work this way to some extent, whether we're aware of it or not. For me, writing has little to do with thinking. I don't want to control the narrative. I listen to the rhythm of the words and dialogue and try to give the characters the space in which to say and do what they want without intervening too much.
Now I don't have to explain to the world about India's position. The world is unanimously appreciating India's position. And the world is seeing that Pakistan is finding it difficult to respond. If we had become an obstacle, then we would have had to explain to the world that we are not that obstacle. Now we don't have to explain to the world. The world knows our intentions. Like on the issue of terrorism, the world never bought India's theory on terrorism. They would sometime dismiss it by saying that it's your law and order problem.
Too many of us are afraid to slow down because then we would have to take a good look at how we're using our time and what we're becoming. We don't want to listen to that other voice deep inside, telling us something is not right.
The solitude of writing is a solitude without which writing could not be produced, or would crumble, drained bloodless by the search for something else to write.
It had helped to keep her sane, that writing. Then, when time had begun again and real people had entered it, she'd abandoned it here. Now it's a whisper from the past. Is that what writing amounts to? The voice your ghost would have, if it had a voice?
When you work with a major label they create their own message for you and a lot of the time that works great, or at least it did back in the 90's but now it doesn't work, so I think as an artist if you learn your own business, like anybody would when they want to start a little restaurant - they'd figure it out and then build it and they work hard - then it could be your own little business that you grew to as big as you want it to be but you had much more control with how to communicate it and how it's cared for.
If a person was accused of being a racist when he was young - he said some racially insensitive thing or someone had him on tape calling someone the n-word or whatever - and then you fast forward and he feels, Oh, back then I didn't say this or that. He's not thinking about the person that he hurt when he said what he said, or however it came out, or the effects that it could have had. He's not thinking about it. He's thinking about his own self and how he feels.
And now I've got to explain the smell that was in there before I went in there. Does that ever happen to you? It's not your fault. You've held your breath, you just wanna get out, and now you open the door and you have to explain, 'Oh! Listen, there's an odor in there and I didn't do it. It's bad.
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