A Quote by Shannon Lee
My father was prolific when it came to writing: day-timers, journals. He wrote on pieces of loose-leaf paper that he held on to, and he wrote in spiral notebooks.
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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.
When I was still in prep school - 14, 15 - I started keeping notebooks, journals. I started writing, almost like landscape drawing or life drawing. I never kept a diary, I never wrote about my day and what happened to me, but I described things.
I wrote a huge number of letters that spring: one a week to Naoko, several to Reiko, and several more to Midori. I wrote letters in the classroom, I wrote letters at my desk at home with Seagull in my lap, I wrote letters at empty tables during my breaks at the Italian restaurant. It was as if I were writing letters to hold together the pieces of my crumbling life.
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.
One day I wrote her name upon the strand, But came the waves and washèd it away: Again I wrote it with a second hand, But came the tide, and made my pains his prey.
'Despacito' started with a melody hook that I had with my guitar only. The beat for this track came after I wrote the lyrics, which I wrote as if I was writing a ballad.
I always wrote. I wrote from when I was 12. That was therapeutic for me in those days. I wrote things to get them out of feeling them, and onto paper. So writing in a way saved me, kept me company. I did the traditional thing with falling in love with words, reading books and underlining lines I liked and words I didn't know.
The secret of it all, is to write in the gush, the throb, the flood, of the moment – to put things down without deliberation – without worrying about their style – without waiting for a fit time or place. I always worked that way. I took the first scrap of paper, the first doorstep, the first desk, and wrote – wrote, wrote…By writing at the instant the very heartbeat of life is caught.
In those happy days when leisure was held to be no sin, men and women wrote journals whose copiousness both delights and dismays us.
It's more like I write multiple first drafts, handwritten. So with my first novel, I wrote whole drafts from different points of view. There are different versions of that novel in a drawer on loose-leaf sheets. I won't even look at the first draft while I'm writing the second, and I won't look at the second before writing the third.
I wrote for magazines. I wrote adventure stuff, I wrote for the 'National Enquirer,' I wrote advertising copy for cemeteries.
I didn't have my own journals, but my mother kept a journal while I was in the hospital, and my father wrote newsletters to keep friends and family updated on my progress.
I read a lot when I was in school in the United States, and even though writing in English is very difficult for me, I wrote in journals.
'Marvin Gaye' came about my first day in L.A. It was kind of crazy that that's my first song that I wrote and it blew up that much. What's crazy is the next day I wrote 'See You Again,' so that's pretty interesting. I was trying to prove myself as a songwriter.
I've never been a very prolific person, so when creativity flows, it flows. I find myself scribbling on little notepads and pieces of loose paper, which results in a very small portion of my writings to ever show up in true form.
My father didn't want to go to Manhattan for me, and I came to Manhattan and I have done a great job in Manhattan. And then I wrote a best-seller and I wrote numerous best-sellers.
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