A Quote by Paul Weller
There were aspects of stardom I didn't like, which were of no consequence, really, but the positive things far outweighed the negative. By the time I came to write 'Setting Sons,' I felt my writing was more like prose, set to music.
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Some creative writing programs seem evil, but my experience at Irvine was totally the opposite, where I feel like they were really good at focusing in on each writers voice and setting. When I felt like I was obligated to write a story that was more typical, no one really liked it.
In high school, in 1956, at the age of sixteen, we were not taught "creative writing." We were taught literature and grammar. So no one ever told me I couldn't write both prose and poetry, and I started out writing all the things I still write: poetry, prose fiction - which took me longer to get published - and non-fiction prose.
When I started making my own music I was listening to people like Erykah Badu and Elliott Smith. I think I always gravitated towards slightly more understated voices because it felt like I could really connect with what they were saying. It felt more like a conversation.
It felt really nice to not have anybody talking about numbers, and no one is talking about ratings. From my experience, it felt like there was one person running the ship and it felt like there was space for Jenji to be at the helm. That's not what I've experienced in television before. It felt more akin to an interesting movie, where there were producers who were really excited by the work and wanted to make space for the director's vision to be sort of shared with an audience. It felt more cohesive.
I used to write sonnets and various things, and moved from there into writing prose, which, incidentally, is a lot more interesting than poetry, including the rhythms of prose.
When I was writing my autobiography, these songs came up from time to time which were important to me, and I realized that what they really represented was, they'd come from this age of shared music.
I know there were periods of times where I didn't feel understood, and there were very few people around me that I felt like they really got me. There was one person who was sort of the one in my life that really got me.In general, I felt a little bit on the outside and not totally included. There was a period of time when we were moving around a lot. So I couldn't really hold on to a certain set of friends. And so that was a little bit difficult.
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.
Prose is like this big block - you write big paragraphs. I feel that when I'm reading and writing, that a prose book is kind of monolithic. But a song is more like a feather or something.
Macintosh felt like a system. As I learned more, I felt like I was able to guess how new things would work. I felt like the bugs in my programs were more my bugs and not things I misunderstood.
This is largely the methodology I've used throughout my career - that is, starting with a question as to what might be the properties of a set of compounds that could be invented which were unusual and unpredictable. Many times I've felt a bit like Columbus setting sail.
I think from a major-label perspective, if you were on the flip side of things and that's the world you were used to working in, your interpretation could be, "Oh, they're having trouble writing songs," when really it's like, "No, I'm not ready to write songs, I don't want to write a song right now, if I did write a song, it would be forced."
[Alex Hayley] wanted to show the negative aspects of the N.O.I.'s ideology, Yacub's history, and all of the ramifications of racial separatism that he felt were negative, and that Malcolm, being as charismatic as he was, a very attractive figure, nevertheless, he embodied these kind of negative traits.
I made a real specific decision when I came out of school and most artists were writing about home - if you were a woman, you were writing about being a woman - and I decided not to do that, write about what you know. That's not what I do. I went as far away from home as possible in terms of the development of my imagination.
My siblings and I were raised like tenants, to be honest. There was a total absence of intimacy in my family, though there was still a great deal of camaraderie among the kids. Things were set up almost like a business, and it had to be managed that way because we were really poor, and there were a lot of mouths to feed.
Writing for adults and writing for young people is really not that different. As a reporter, I have always tried to write as clearly and simply as possible. I like clean, unadorned writing. So writing for a younger audience was largely an exercise in making my prose even more clear and direct, and in avoiding complicated digressions.
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