A Quote by Paula Hawkins

When I wrote 'The Girl on the Train,' nobody knew who I was, and that's quite a comfortable position to be writing in. — © Paula Hawkins
When I wrote 'The Girl on the Train,' nobody knew who I was, and that's quite a comfortable position to be writing in.
When people speak to me of the torment of writing, I can think only of what it was like before I wrote: once writing meant writing and not thinking about writing, I knew nothing of any torment.
You know, they ask me if I were on a desert island and I knew nobody would ever see what I wrote, would I go on writing. My answer is most emphatically yes. I would go on writing for company. Because I'm creating an imaginary - it's always imaginary - world in which I would like to live.
A lot of people think I came out of nowhere. When you start as a songwriter, nobody knows who you are. I met the guy who wrote 'Yeah' by Usher, which was a huge smash, and nobody knew who he was.
I knew from an early age that people didn't see the different sides of me. I formulated a kind of bi-cultural identity quite early, and I was always very comfortable with it, but I knew people didn't quite see that.
My mother had died when I wrote my first book. I was twenty-seven, so it was right at the beginning of my writing life. I don't know if she had lived, if I would have done it, certainly not quite like I did. But, you can't rethink it. You wrote what you wrote, it meant something to other people, and that's your good.
Charles Ives was writing radically innovative music, but nobody performed it, and nobody knew about it.
I try to gauge whether a girl likes me before I make a move. I would write a page-long note to a girl. If she wrote a whole page back, I knew she liked me, too. If she wrote back like two words, then I figured I'd move on.
I try to gauge whether a girl likes me before I make a move. I would write a page-long note to a girl.If she wrote a whole page back, I knew she liked me, too. If she wrote back like two words, then I figured I'd move on.
I actually don't prepare for onscreen nudity. I really believe that you have to be comfortable with your own body and unless the role is directed to a certain physicality and you're playing a sports person, then obviously you've got to train for it, but I just try and do things that make me happy and comfortable in my own skin, so I've gotten into yoga quite a lot.
When you are on the ground, only one of you two can be comfortable at any one time. Either you are comfortable or the opponent is. Your job is to transfer the comfortable from him to you in every position
Style is what's there when you look at someone's writing and you know that they wrote it and nobody else did.
My background has been very helpful for this experience. But everyone was so accommodating because they knew it's not the most comfortable position to be the new kid.
"Only write what you know" is very good advice. I do my best to stick to it. I wrote about gods and dreams and America because I knew about them. And I wrote about what it's like to wander into Faerie because I knew about that. I wrote about living underneath London because I knew about that too. And I put people into the stories because I knew them: the ones with pumpkins for heads, and the serial killers with eyes for teeth, and the little chocolate people filled with raspberry cream and the rest of them.
Nobody quite knew what to make of the moon any more.
Before we started writing we did feel pressure because of the success of the first record. One of the first songs that we wrote was "Out Of My Heart" which is the first single. As soon as we wrote that, we knew we just set the standard and every other song had to be as good if not better.
I knew [Eva Braun] wrote to [Adolf Hitler], I would see her writing to him and I would see her reading his notes or letters. She kept all that in a safe at the Berghof and nobody got near that safe except Hitler or Eva.
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