A Quote by Min Jin Lee
I thought, 'Nobody wants this book, and I'm an idiot for having worked on it so hard.' But to succeed in writing, you must be willing to look stupid for a long time. 'Pachinko' took so long because I got it wrong so many times.
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In Jiu-Jitsu, every instinct you have wants to do everything but relax or breathe when someone's attacking you, and learning that takes a long time. I think that's why a lot of people stop at blue belt because it's really hard to do. It's hard to take that next step. It took me a long time.
Setbacks, on the other hand, just make us feel weak and stupid: I should have conquered this by now. I happened on a question not long ago that oerfectly expresses this mentality: How many times must I prove myself an idiot?
If you are going to do large-scale invention, you have to be willing to do three things: You must be willing to fail; you have to be willing to think long term; and you have to be willing to be misunderstood for long periods of time.
I'm always intrigued by authors who say, 'This book took 17 drafts.' They're very clear about it. I couldn't possibly count the number of times... So many of these stories I worked on for a very long time and wrote them, set them aside, rewrote them, worked on something else - they were never far from reach; they informed each other.
I worked for everything that I got and I worked long and hard before I got to this point so when I got it I thought I deserve it.
Courage changes things for the better...[With courage you can] stay with something long enough to succeed at it, realizing that it usually takes two, three or four times as long to succeed as you thought or hoped.
When you're writing a book, it's rather like going on a very long walk, across valleys and mountains and things [...] The highest mountain on the walk is obviously the end of the book, because it's got to be the best view of all, when everything comes together and you can look back and see that everything you've done all ties up. But it's a very, very long, slow process.
I guess it must be a time-of-life thing, looking back and trying to make some sense of who I am and where I've been. It's a weird thing, having to give an account of yourself, to try to make sense of yourself for yourself. I'm not that old, but I have been writing fiction professionally for a long time now. I started so young and went so hard for so long. And I guess it was about feeling I had the space to look over my shoulder.
For a very long time, I wrote a book a year, and was eager and willing to do it, to put bread on the table, to have my work out there. Now I must write a book every two years, and that's never enough time, either.
Many a young person tells me he wants to be a writer. I always encourage such people, but I also explain that there's a big difference between being a writer and writing. In most cases these individuals are dreaming of wealth and fame, not the long hours alone at the typewriter. You've got to want to write, I say to them, not want to be a writer. The reality is that writing is a lonely, private and poor-paying affair. For every writer kissed by fortune, there are thousands more whose longing is never requited. Even those who succeed often know long periods of neglect and poverty. I did.
Have you ever thought about those last moments of your life? Nobody wants a long, lingering illness; nobody wants just that; but it would be nice if you could have a day or two where you know it's coming.
The play is one of the very few pieces of great dramatic and comic writing that I have read in a long, long time. I was drawn to it because of the power of the writing, which gives me the actor a chance to explore many facets of myself.
I had an insanely long commute - New York to D.C. - when I worked at 'National Geographic.' I hate to waste time, so I spent my time by writing about my life on the premise that I might be able to pitch those as short essays to magazines. It wasn't until later that I realized that I was writing a book.
On a personal level, the 'Young Apprentice' schedule is very long. The children needed long breaks so the sheer amount of time it took made it tougher. There was a lot more hanging around. But as a show, championing young people and promoting young people who are willing to have a go, I thought it was great.
I think that a good person can sometimes do wrong out of ignorance or weakness or wrong thinking, but when hard times come, the goodness wins out after all. And a bad person can often seem good and trustworthy for a long time, but when hard times come, the evil in him gets revealed.
I thought a director was like a pillow who sat under the writer, supporting them and submitting to their vision. It took me a long time to realise that what a writer really wants is a production that matches the play and the writing. It is the only way the play can achieve its full potential.
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