A Quote by Peter Kay

I can only write about what I know, I'd be crap anywhere else. — © Peter Kay
I can only write about what I know, I'd be crap anywhere else.
I'm a big eater. I mean, a lot of my stand-up is about food, and you write about what you know, and that's the only thing I know. I don't know anything else.
Her business manager said, you know, Gilda [Radner] left you that house. That's when I decided to stay and test it out. And after about a month, the roots grew, and I didn't ever want to live anywhere else for the rest of my life - travel, yes, but not to live anywhere else.
People think [immigration] is only about the dollar, but it's so much more complex. This is a place where you can reinvent yourself. I don't know that you can do that anywhere else.
I try to write 1,000 words. Some people say it's not about the quantity but about the quality. I disagree. You need to write a lot in order to figure out what's good and what's crap.
I write in my house, at my desk, where I have Christmas lights strung over it to try and convince me that I'm having a good time. I can't really write anywhere else.
I was aware that you weren't supposed to write about suburbia, that it was undignified in some way, the subject matter not momentous enough. And so, for a long time, that kept me from writing about it. But once I began, I realized it was just as interesting as anywhere else.
I write about the power of trying, because I want to be okay with failing. I write about generosity because I battle selfishness. I write about joy because I know sorrow. I write about faith because I almost lost mine, and I know what it is to be broken and in need of redemption. I write about gratitude because I am thankful - for all of it.
There's an evolutionary imperative why we give a crap about our family and friends, and there's an evolutionary imperative why we don't give a crap about anybody else. If we loved all people indiscriminately, we couldn't function.
There's no reason why you can't say "August Wilson, playwright" even though all of my work, every single play, is about black Americans, about black American culture, about the black experience in America. I write about the black experience of men, or I write about black folks. That's who I am. In the same manner that Chekhov wrote about the Russians, I write about blacks. I couldn't do anything else. I wouldn't do anything else.
When I see an entire community disenfranchised, it disturbs me. Not that I'm a message guy, per se. I write about people. I like to write about human beings, not crap political rhetoric. I've tried to avoid that all my life. When I wrote about soldiers in Vietnam, I wasn't trying to make a political statement. I was trying to write about how screwed things were for soldiers, and how they still are.
The good news about being full of crap is that once you're willing to admit that you're full of crap, you can de-crap yourself.
Only write from your own passion, your own truth. That's the only thing you really know about, and anything else leads you away from the pulse.
For years I've wanted to write about the Australian countryside, but, like most Australians, I've only got a tourist's knowledge of it. I thought that if I disobeyed that basic rule of writing - write about what you know - I'd write a thin and inauthentic book.
There's always things that you know about that nobody else, because everybody's life is different. So you write about what you know. That's number one.
Lazy reviewers look up other people's reviews and they write the same thing, so you get people writing crap based on crap.
I don't know what's going on in America. I know what people in New York and Beverly Hills think about Whole Foods, but I don't know what people anywhere else think.
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