A Quote by Steve Toltz
I know you're supposed to hide your influences, but I suppose I see writing as riffing, really, about whatever you have been reading or thinking about that day or that week.
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I think the beautiful thing about acting is you don't really know who you are. You're able to be whatever you want any day during the week. So I really couldn't see myself being anything else.
The secret to writing is writing. Lots of people I know talk about writing. They will tell me about the book they are going to write, or are thinking about writing, or may write some day in the future. And I know they will never do it. If someone is serious about writing, then they will sit down every day and put some words down on paper.
My office-hour reading is fairly ad hoc: I generally read whatever seems relevant to what I'm editing, writing, or thinking about writing.
I've been acting for so long it's more like - I won't say easy, exactly, but there's not the same angst with writing that comes about with acting. Writing - particularly when you're writing yourself, when it's you, when it's your life, you really can't hide.
Everyone who sits on a sofa watching 'Match of the Day' is a top soccer expert, as you know. So if you start to worry about such people reading your story and saying, 'That'd never happen' you're going to freeze up. You're writing fiction, and your characters can do whatever you need them to do.
This man, who for twenty-five years has been reading and writing about art, and in all that time has never understood anything about art, has for twenty-five years been hashing over other people's ideas about realism, naturalism and all that nonsense; for twenty-five years he has been reading and writing about what intelligent people already know and about what stupid people don't want to know--which means that for twenty-five years he's been taking nothing and making nothing out of it. And with it all, what conceit! What pretension!
It's just one of those things. When you're a wrestler you're thinking about one guy, yourself, your character and whatever guy it is you're working with. When you're a writer and you're kind of in a booking type role, you're thinking about the entire roster so you're thinking about wrestling 24 hours a day.
I have always been fascinated by the human mind, conscious and unconscious - that is what writing and reading is about, too. The why of your life and the why of your choices and the what has happened that you know and the what that you don't know is really riveting, and psychoanalysts share my wonder at how it all unfolds.
I think the beautiful thing about acting is you don't really know who you are. You're able to be whatever you want any day during the week.
Do we really need school? I don't mean education, just forced schooling: six classes a day, five days a week, nine months a year, for twelve years. Is this deadly routine really necessary? And if so, for what? Don't hide behind reading, writing, and arithmetic as a rationale, because 2 million happy homeschoolers have surely put that banal justification to rest.
There's this pet phrase about writing that is bandied around particularly in workshops about "finding your own voice as a poet", which I suppose means that you come out from under the direct influence of other poets and have perhaps found a way to combine those influences so that it appears to be your own voice.
I have been thinking a lot about what we see in villains, how we relate to villains, and what it is about certain villains that we actually empathize with. Like Macbeth. We're not supposed to like a guy who kills the king and takes over, but there's something about him we're really fascinated by.
The basic thing is to be humble, and pretend you're a bartender in the tavern of life. Don't get too comfortable and don't really listen to anybody else. Don't stand around with a bunch of writers and talk about writing. You know when you see plumbers at a plumbers convention, usually they're not talking about plumbing: they're talking about whatever it is that two men happen to talk about. They're talking about sports, their wives and children. I just tell my students, don't talk about writing too much, just go out and do it. Find out whatever you need to get to the mainland.
I've never really been met with indifference, where they say, 'Who cares?' I think that's what good art is supposed to do. It's not supposed to make you feel good about your own prejudices and your own values; it's supposed to open you up in some way and get you outraged or make you happy or make you sad or whatever it's going to do.
You're supposed to be writing from experience - experience with people, with reading, seeing some homeless guy on the street and making up some story of him in your head. If you never see any of that or have those conversations or even sleep enough to have vivid dreams, then what are you writing about?
When I'm shaving, I'm thinking about what I need to accomplish that day. If it's game day, I'm thinking about schemes, thinking about my matchup for that game. If it's practice, I'm thinking about what film we're going to watch. Or if it's a recovery day, I'm thinking of what body parts are aching and what I want to work on.
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