A Quote by Nancy Farmer

I started writing 'The Lord of Opium' in 2008 and produced about 80 pages before disaster struck. Three eye operations nearly put an end to my career. — © Nancy Farmer
I started writing 'The Lord of Opium' in 2008 and produced about 80 pages before disaster struck. Three eye operations nearly put an end to my career.
The United States is much further along because its financial crisis struck three years before Europe's, in 2008, causing headwinds that have pressured it ever since.
I started writing my own things when I was about 8. I used to try to bully my friends into imitating the Spice Girls on the playground. Then I realized, Oh god, my career's going nowhere, so I looked in the Yellow Pages and phoned up the first cheap studio that I found and started recording.
I pretty much started out writing full time. I was an at-home mom and when my youngest entered kindergarten, I started writing. I was 35, and before that I really hadn't written at all. Which means, I guess, that a) it's never too late to start a writing career (or any career you really want) and b) it's OK to get to your mid-30s and still not know what you want to be when you grow up.
I had tried writing novels for many years, and they always escaped me. For a long time, I thought, 'It's just not in me to write a novel. It's not something I'm able to do.' It seemed like everything I wrote naturally ended at the bottom of page three. A picture book, three pages; an essay, three pages.
about ten days ago I got started on a new book, and am completely, brazenly devoted to it: my hair is uncut, my letters are unwritten, the house is a shambles, and I sit here as happy as Mrs. Jellaby, though I am in 1836, not Africa. It won't go on like this, I shall fall over some obstacle, and wake out of my dreams with a black eye and broken shins: but while it does last, I daren't interrupt it. I haven't had such a spell of writing for nearly three years.
When I'm writing a script, before I can write dialogue or anything, I have two or three hundred pages of notes, which takes me a year. So, it's not like "what happens next." I've got things that I'm thinking about but I don't settle on them. And if I try to write dialogue before then, I can't. It's just garbage.
Theratre is not like like in film and TV, where you have to stop and go back and keep redoing the same three pages for two hours. You get to go through the whole 80 pages of the script, which is incredible. You get to keep acting on the feelings you had just moments before. You don't have to psych yourself up for the scene. You can just go off what you were already feeling.
The crisis of the old order in Europe produced nearly 80 years of often bloody conflict between democracy and its foes from 1914 to 1991.
When you write comic books and when you are writing for television, you're not writing the end product, you are writing notes for someone else to make the end product essentially. My scripts are just directions for the artist to draw pages and the pages are what is seen. I kind of feel like it's a safety net, you're able to hide behind the art to a certain extent, and in television you're able to hide behind the actors and the production, but with novels, your words are it
tried to focus on a particular aspect of this historical moment: the failure of mourning. This is something I haven't seen a great deal of in the writing around this disaster. And my view is that you write about disaster by writing around it, by writing allusively.
The medical operations are so challenging because they're so technical, as well. I assumed before we started that we would do the classic thing, when it comes to the operations, that we would do all of these inserts with real doctors.
Here's your first problem," he said, pointing at a sentence. "'Religion is the opium of the people.' Well, I don't know about people, but I think you'll find that the opium of pirates is actual opium.
I started thinking about how life is a lot like getting pushed out of a plane. You didn't ask to be here, none of us did. But we're all careening through space towards an eventual end that no one's gonna be able to put off. That's the only thing that's definite, this impact. So I started to think about how a lot of us fall at an incredible velocity, and it's over in the blink of an eye.
I started my first novel when I was 10, and have produced thousands of pages of juvenilia since.
I started in business journalism from the outside, so when I started writing about markets and business, I was struck by the fact that markets seemed to work well even though people are often irrational, lack good information and are not perfect in the way they think about decisions.
When I started writing short stories, I thought I was writing a novel. I had like 60 or 70 pages. And what I realized was that I don't write inner monologue. I don't want to talk about what somebody is thinking or feeling. I wanted to try to show it in an interesting way. And so what I realized was that I was really writing a screenplay.
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