A Quote by William P. Young

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.
"Biblical theology" refers to something more precise than theology that is faithful to the Bible. It might be helpful to draw a contrast: at the risk of oversimplification, systematic theology tends to organize theology topically and with an eye cast on its contemporary relevance, while biblical theology tends to organize the same biblical material so that it is easier to see the distinctive contribution of each biblical book and human author, and to trace the trajectories of themes across the Bible so we see how the books of the Bible hold together.
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!
When I read any book, if it's really good I get lost in the writing whether it's fiction or non-fiction. I'm in the story not thinking about who wrote it.
I wrote The Jesus Storybook Bible because I wanted children to know the Bible isn't mainly about you and what you're supposed to be doing. It's about God and what he has done. It's the story of how God loves his children and comes to rescue them. It's a Love Story. It's an Adventure Story. And at the center of the story is a baby - the child upon whom everything would depend. And every single story in the Bible whispers his name.
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.
I wrote my first book at eight, all of four pages. At 10, I did a 40-page story. At 12, I wrote two stage plays.
Whenever I wrote fiction, people always seemed to think that what I wrote was true, that it was entirely autobiographical. And when I would write non-fiction, they often accused me of exaggeration and fictionalization.
Freud wrote a book on the essence of humor, but he didn't know what he was talking about. Max Eastman wrote a book, The Enjoyment of Laughter, that was a much better book, but nobody bothered to read it.
We wrote about having five kids and bringing them to church. A journalist at The Washington Post wrote this article where the headline was "The New Catholic Evangelism Of Jim Gaffigan." And it was a bit terrifying.
So I wrote what I hoped would be science fiction, I was not at all sure if what I wrote would be acceptable even. But I don't say that I consciously wrote with humour. Humour is a part of you that comes out.
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.
I wasn't aware I'd write the novel when I wrote the New Yorker story either. And the narration of their construction in 10:04 is fiction, however flickering.
I wrote for magazines. I wrote adventure stuff, I wrote for the 'National Enquirer,' I wrote advertising copy for cemeteries.
I was incredibly determined - I wrote short stories, I wrote the beginnings of novels. I wrote a little children's book and sent it to the editor-in-chief of the children's division of Simon and Schuster and she asked me to write a little children's book for a series she was doing.
I wrote my first sucio story, as I call them, in 1997. This was always my 'cheater's book,' my book about sucios desgraciados. My plan was to write a book about how people deal with love and loss.
I wrote a book. It sucked. I wrote nine more books. They sucked, too. Meanwhile, I read every single thing I could find on publishing and writing, went to conferences, joined professional organizations, hooked up with fellow writers in critique groups, and didn't give up. Then I wrote one more book.
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