A Quote by William P. Young

I think that most creative fiction involves the transformational process, whether it is Dickens or Dostoyevsky and the writer in some sense is expressing their own journey through such a wilderness.
Creative non-fiction is such a liberating genre because it allows the non-fiction writer, whether he or she be journalist or essayist, to use all of the techniques of the fiction writer and all of the ideas, creative approaches, that fiction writers get a chance to use, but they have to use it in a true story.
THE MALE JOURNEY t some point in time, a man needs to embark on a risky -journey. It's a necessary adventure that takes him into uncertainty, and it almost always involves some form of difficulty or failure. On this journey the man learns to trust God more than he trusts a sense of right and wrong or his own sense of self-worth.
I came to fantasy fairly late. For some ten years, I had been happily writing fiction and non-fiction for adults. But I always loved fantasy, whether for adults or young people; and at that particular point in my life, I wanted to try it, to understand it, as part of the process of learning to be a writer. The results were beyond anything I could have foreseen. As I've said often and elsewhere, it was the most creative and liberating experience of my life.
I'm a writer, so I interview people all the time, and I think of it as being a very creative process. Giving interviews is actually one of the most creative parts of the film promotion process.
I think there's a deep impulse in most humans to do creative stuff, whether that's music or art, photography or writing. Most people at some point in their life say they want to do something creative - they want to be an actor, a director, a writer, a poet, a painter or whatever.
We can actually accelerate the process through meditation, through the ability to find stillness through loving actions, through compassion and sharing, through understanding the nature of the creative process in the universe and having a sense of connection to it. So, that's conscious evolution.
I view myself as a fiction writer who just happens to write nonfiction. I think I look at the world through a fiction-writer's eyes.
Because Dickens and Dostoyevsky and Woody Guthrie were telling their stories much better than I ever could, I decided to stick to my own mind.
I have always been intensely uncomfortable with the idea of a science fiction writer as prophet. Not that there haven't been science fiction writers who think of themselves as having some sort of prophetic role, but when I think of that, I always think of H.G. Wells - he would think of what was going to happen, and he would imagine how it would happen, and then he would create a fiction to illustrate the idea that he'd had. And no part of my process has ever resembled that at all.
There's the fact that American fiction is basically the most apolitical fiction on the globe. A South American writer wouldn't dare think of writing a novel if it didn't allude to the system into which these people are orchestrated - or an Eastern European writer, or a Russian writer, or a Chinese writer. Only American writers are able to imagine that the government and the corporations - all of it - seem to have no effect whatsoever.
In fiction, there happens to be a long history of creative engagement with marginality, with the very human components of society that others don't want to think about, from writers such as Dostoyevsky, Baudelaire, and Rimbaud to Genet and Sarrazin and right on up to Norman Mailer.
We do not evaluate the result but the starting point of the creative process. Precisely, this shows whether the form was discovered by starting from life, or for its own sake. That is why I consider the creative process so essential. Life for us is the decisive factor.
If all stories are fiction, fiction can be true -- not in detail or fact, but in some transformed version of feeling. If there is a memory of paradise, paradise can exist, in some other place or country dimensionally reminiscent of our own. The sad stories live there too, but in that country, we know what they mean and why they happened. We make our way back from them, finding the way through a bountiful wilderness we begin to understand. Years are nothing: Story conquers all distance.
Dickens never joined a political party nor put forward a political programme. He was a writer who rightly saw his power as coming through his fiction.
Capra's great passion was Dickens. As soon as he had some money, he bought some of the rarest and most extraordinary editions of Dickens's work, and he was very proud of his collection.
Psychodrama' is a form of therapy and it is just expressing how you feel in whatever way is the most creative to you. Some people act it out, some people sing it out, people find their own different ways.
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