A Quote by Sarah Dessen
I'm really happy to have the chance to talk about the editing process. It's something that I think doesn't get the weight it deserves, especially with the rise of self-publishing.
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Self-publishing is fine. But in a world of self-publishing, where everything is about what you get on the back end, there's a serious disincentive from embarking on really important, vital projects.
There is something about the creative process... which is that you can't talk about it. You try to think of anecdotes about it, and you try to explain, but you're never really saying what happened... it's a sort of happy accident.
I know people think that having a regular publisher is more prestigious, there is even this idea that self-publishing is a result of being snubbed. But self-publishing really appeals to me.
It was an interesting process trying to get Bob to talk about the film because he's such a shy person. He generally likes to talk when he really knows he has something to say.
I don't think anyone is ever writing so that you can throw it away. You're always writing it to be something. Later, you decide whether it'll ever see the light of day. But at the moment of its writing, it's always meant to be something. So, to me, there's no practicing; there's only editing and publishing or not publishing.
There's a lot of talk these days about giving children self-esteem. It's not something you can give; it's something they have to build. Coach Graham worked in a no-coddling zone. Self-esteem? He knew there was really only one way to teach kids how to develop it: You give them something they can't do, they work hard until they find they can do it, and you just keep repeating the process.
After I talk to so many people who are so unhappy about their weight and so depressed that they don't see any rainbows in their life, after I talk to about 30 of those, then I try to walk away and pet my dog, just do something that makes me happy.
You get one chance to do something about native title. You get perhaps one chance in your life to do something about a republic. You get one chance, your chance, to build a piece of the political architecture in the Pacific. I wasn't going to give those up.
Don't label me before we get a chance to talk about it. Talk to me first and see what kind of person I am. That's what I like to tell the media: Come talk to me, let's sit down and talk about what's really going on.
I really think that if there's any one enemy to human creativity, especially creative writing, its self-consciousness. And if you have one eye on the mirror to see how you're doing, you're not doing it as well as you can. Don't think about publishing, don't think about editors, don't think about marketplace.
I'm kind of a nerd, so whenever I get a chance to talk to an artist I really admire, I tend to gravitate to process.
The boxing promotion part is really interesting, because I got the chance to do something with my sons. They carry their own weight, and I get a chance to listen to them and see what they have on their minds. I don't have to hand out things to do, and now they have things for me to do. It's an amazing privilege to get the opportunity to work with your children.
I think in the whole field of questions about what we take to be "real," one of those questions is about the self. When you talk about the self we're always talking about whether it's a construction and it's a construction we're always in the process of working on. I don't think that work ever ends, to some degree.
Separate out the creative act from the act of editing and execution. Make it a two-step process. First, let ideas flow and encourage EVERY idea to make it to the whiteboard. Don't criticize, judge, edit, budget, or worry. An idea on the wall can't hurt anyone, so let them rip without restriction. After any and all ideas have the opportunity to "come out to play", only then should you apply your analytical and logical side to the effort. Don't mix the creative process with the editing process or you'll kill your ideas before they even get a fighting chance.
I consider myself something of a self-taught anthropologist. I try not to talk about something unless it's something I love. But if it's something that really annoys me, I fixate on it, learn something about it and then, when I'm onstage, it comes out.
I think there's something really thrilling to having to get people laughing about something, and then, when you have them in that comfort space, you can drop the weight into the texture of the story.
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