A Quote by Marie Brennan

I think if you write for long enough, you eventually have a problem with everything, because you start figuring out where you could be doing better. But as far back as I can trace, I always wrote clear, grammatical prose.
At the end of whatever we're doing, I always feel like I want to go back and start over again because now I have a better sense of what it is. I feel that with everything. Like, if you're doing like a long run of a play and you're doing it seven shows a week, at the end of it, I want to go back and start from the beginning.
I've been writing for a long time, since the late '60s. But it hasn't been in the same form. I used to write scripts for television. I wrote for my comedy act. Then I wrote screenplays, and then I started writing New Yorker essays, and then I started writing plays. I didn't start writing prose, really, until the New Yorker essays, but they were comic. I didn't start writing prose, really, until the '90s. In my head, there was a link between everything. One thing led to another.
I've been doing short-form writing for a decade, and six years ago I signed with an agent, and we've been working on figuring out what my book would be. I was always so embarrassed that it took me so long to figure it out, but I think, in retrospect, I just wasn't ready to write a book six years ago. I wasn't confident enough as a writer and I wasn't coherent enough in my worldview. It just took this long for me to be a mature enough writer and be ready to do it.
I always try to do as much as I can do. I'm never a person that does not enough, because I'd regret not doing enough and think I probably could have done more. I probably go too far and have to reel myself back in, which works in some things, and other things it doesn't work.
I think when you start to do well and get your confidence back, everything becomes more fun. When you're playing with not your full capacity of confidence, I think things get a little tough. I knew I could be doing better than what I was doing. Even though I was ranked 5 or 4 or whatever it was, I wanted to get back to the level I thought I could play at.
There is always a possibility that you could lose, because the outcome isn't written yet: you have to go out and write it. If you want it bad enough, if you do the training and prepare yourself to succeed, and do everything in your power to win, you'll have a better chance of succeeding.
I think it just has to do with getting older and getting better at what it was I was doing, and that I could take something small and kind of take my time with it. I think actually what that has to do with is I quit drinking. Before that I told myself I could only drink if I was - if I was writing, I had to be drinking. So I was on a timer, because eventually you get too drunk to write.
I don't write out of fear. I write out of a strong urge to meet death on its own eternal terms, because the fact is that if you write as little as a page of prose-even bad prose-that is eternal.
There's not always going to be something out there for you, especially not a positive role, so once you get up there and start being well known, you can't just think projects will come to you. You have to start doing your own projects because if you don't, you'll miss out, and eventually your fame will be over.
So far in my career, I've achieved what I've achieved because I've believed that I could do it. And I've never believed that anyone's better than me, because I think when you start doing that, you've already lost the fight.
Poetry has an indirect way of hinting at things. Poetry is feminine. Prose is masculine. Prose, the very structure of it, is logical; poetry is basically illogical. Prose has to be clear-cut; poetry has to be vague - that's its beauty, its quality. Prose simply says what it says; poetry says many things. Prose is needed in the day-to-day world, in the marketplace. But whenever something of the heart has to be said, prose is always found inadequate - one has to fall back to poetry.
We understand what the difference is between what we understand and what the community understands about what we're doing because they have supported us long enough for me to stay out here, while other people who are doing other things have not. A lot of people have trouble pinning down what it is we do and how. But we don't have any trouble with that. As long as that's their problem, it's their problem.
We learnt a lot from doing Panto, actually back when we were still doing 'SMTV: Live.' We learnt how far we could push things and the show was all the better for that. I think that taught us you really have to know your audience because you could see how they would react to things.
'Finally' actually started out as a poem. I always wrote poetry, and pretty soon I figured out that if I could write poems, I could write songs.
What happened was I began to eventually lose everything because cocaine had such a hold on me. I wouldn't show up to do things I had been hired to do - whether it was film for a video or do an ad for a magazine or something. I'd be out partying with cocaine. Eventually, I began to lose everything. So, I left California and went back to Alabama in an attempt to try to get my life together - but geographical location didn't necessarily help me because the real problem was in me.
I've done that kind of stuff in records, where you start going back and you want to just redo everything, destroy everything, because you think it all sucks and you can do it better.
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