A Quote by S. E. Hinton
The thing is, the Tulsa experience that I wrote about in 'The Outsiders' is closer to the universal experience than it would be if I wrote it from L.A. or New York. It's an everyman story.
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I wrote a few unsuccessful screenplays before I wrote 'Before the Devil Knows You're Dead.' I wrote them as television plays that never got made. I'm glad I wrote them - I think it was a good experience.
I wrote 'Yellow Submarine' for the Beatles. I wrote the screenplay for 'The Games,' about the Olympic Games. I wrote 'Love Story,' both the novel and the screenplay. I wrote 'RPM' for Stanley Kramer. Plus, I wrote two scholarly books and a 400-page translation from the Latin, and I dated June Wilkinson!
Every song brings back memories, like I remember where I wrote all these songs. 'Universal Heartbeat' was my apartment in New York City. 'My Sister' was at my apartment in Boston. I remember places and I remember what I was thinking when I wrote it.
France was very opposite of the show-business experience I'd been living; I was anonymous and alone. I wore no makeup, wore the same clothes every day. And I wrote and wrote and wrote.
In the immediate aftermath of the separation I just wrote and wrote and wrote. And wrote and wrote and wrote. Thank God I had that as an outlet.
In journalism, when we want to get a story over the jumps, we refer to it as a universal experience, but it almost never is. There is one universal experience, that's death. That is something we are all going to experience at some distance in the lives of loved ones, strangers and friends, people around us and certainly our own.
Aldous Huxley took the drug mescaline and then chronicled his experience in the book The Doors of Perception. Now, I don't actually think that's the first thing he wrote: he probably wrote 'my brain is melting' ten thousand times, but it was the book that the critics latched on to.
Certainly Christianity is an experience, but equally clearly the validity of ane experience has to be tested. There are people in lunatic asylums who have the experience of being the Emperor Napoleon or a poached egg. It is unquestionably an experience, and to them a real experience, but for all that it has no kind of universal validity. It is necessary to go far beyond simply saying that something comes from experience. Before any such thing can be evaluated at all, the source and character of the experience must clearly be investigated.
I wrote a story for my kids. It's fiction. It's not systematic theology. It's not a new book of the Bible. It's flawed, I wrote it. All of that goes into the mix, but I love the controversy. It elevates the conversation.
Every time I put a collection together I'd scrap it because there was no "meaning," until I wrote about the two black men - friends - in the beginning of the book. So much of their experience was ABOUT trying to find friends in the authors/artists I wrote about - subjects that were/are a source of comfort, somehow, since none of them "fit," either
I think I would have been a writer, anyhow, in the sense of having written a story every now and then, or continued writing poetry. But it was the war experience and the two novels I wrote about Vietnam that really got me started as a professional writer.
I took to writing as my medicine to help me stay afloat in acting career journey. I wrote about me breaking hearts, and my heart being broken. I wrote about my views whether they were liberal or conservative. I wrote about everything. I wrote about my life. When I did not have paper coming in as green backs, I'd use random pieces of paper for stories. It was like, I got no money, but I have paper to write. So I wrote.
For 30 years I wrote for newspapers and magazines, wrote books on the Dallas Cowboys' dynasties of the '70s and '90s, wrote about Michael Jordan in Chicago and Barry Bonds in the Bay Area, even wrote columns for ESPN.com from 2004 to 2006.
You know, most reporters can't go back to the towns they wrote stories about. I never wrote that kind of story.
I wrote for magazines. I wrote adventure stuff, I wrote for the 'National Enquirer,' I wrote advertising copy for cemeteries.
My interest in the theater led me to my first writing experience as an adult. My husband David wrote the music and lyrics and I wrote the book for a children's musical, 'Spacenapped' that was produced by a neighborhood theater in Brooklyn.
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