A Quote by Robert Redford
What I would do is when I was younger I would draw in a sketch book something that happened in my life and then write a little something on the side about what happened or what the story.
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You can't write your life story and leave out one of the most important things that happened to you in your life. I think that that would be dishonest, and it would be something people would be very angry about.
I like to make little movies or fake stories about something that happened in my life. I will make a movie in my mind that would translate the same feeling or emotion that I had in whatever just happened.
When I would be on the stage singing, I would see a movie of something that happened, I would be telling the story. I would be describing the story in sound, but my goal would be to make somebody else run their own movie.
I always try to write about something that's actually happened or it doesn't always have to have happened to me, but it has to have happened at some point. So every single lyric that you hear comes from some kind of story that I've come across in my life. I like to think that that maybe helps me mean it a bit more and if you don't mean it, it ceases to be soul music.
In the future, when something comes up, you tell exactly how it happened but write down for yourself the way you think it should have happened. Tell the truth and write the story. Then you won't get mixed up. It was the best advice Francie every got.
I think I write or publish as much as I do because I can bear being without a book to work on. But routinely when I finish a book, I think, "What will I do? Where will I get an idea?" And a kind of low-level panic sets in. And then eventually something happens. I don't know. If I knew how it happened I would repeat the process, but I don't know - something just occurs to me.
'Miss Jackson' is about something that actually happened to me when I was younger. I hadn't really talked about it, and I felt that if I didn't, I would keep thinking about it; it would drive me crazy.
So you want another story?" Uhh... no. We would like to know what really happened." Doesn't the telling of something always become a story?" Uhh... perhaps in English. In Japanese a story would have an element of invention in it. We don't want any invention. We want the 'straight facts,' as you say in English." Isn't telling about something--using words, English or Japanese--already something of an invention? Isn't just looking upon this world already something of an invention?
If you write a book set in the past about something that happened east of the Mississippi, it's a 'historical novel.' If you write about something that took place west of the Mississippi, it's a 'Western'- and somehow regarded as a lesser work. I write historical novels about the frontier.
I find that the more I depend on real life, the less interesting the story is. It's much more common for me to take something that almost-happened, or I wish had happened, and then follow that possibility.
And the moral of the story is that you don't remember what happened. What you remember becomes what happened. And the second moral of the story, if a story can have multiple morals, is that Dumpers are not inherently worse than Dumpees - breaking up isn't something that gets done to you; it's something that happens with you.
At least I'm at peace with myself. I have done my best to write a book about what really happened there and why it happened and it's done, it's published. I won't write another book on Vietnam.
I would like to write my next book about what happened to critical intelligence in America and how it's been undermined by these really shallow ideas about human life and nature.
The whole thing with the Rick James story sketch and the Prince story sketch - I recounted my past, you know? - and that's what I was doing. It's not like I sat down and said I want to come up with a great story about Rick James. That stuff really happened.
It's funny - for a long time, I didn't know I was writing a book. I was writing stories. For me, each story took so long and took so much out of me, that when I finished it, I was like, Oh my gosh, I feel like I've poured everything from myself into this, and then I'd get depressed for a week. And then once I was ready to write a new story, I would want to write about something that was completely different, so I would search for a totally different character with a different set of circumstances.
Every story would be another story, and unrecognizable if it took up its characters and plot and happened somewhere else ... Fiction depends for its life on place. Place is the crossroads of circumstance, the proving ground of, What happened? Who's here? Who's coming?
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