Wrote Quotations

I wrote somewhere during the Cold War that I sometimes wish the Iron Curtain were much taller than it is, so that you could see whether the development of science with no communication was parallel on the two sides. In this case it certainly wasn't.

My father was a legendary copywriter. He wrote 'Timex Takes a Licking and Keeps on Ticking.' He named Earth Day 'Earth Day.' It falls on his birthday, April 22. Earth Day, birthday. So the idea came easily.

The past actually happened but history is only what someone wrote down.

One of the reasons I wrote 'Airborn' was that I'd fallen in love with the great passenger airships which flew in the '20s and '30s. Their time was short-lived. They were frail, they tended to crash; and they could never be as fast, safe and efficient as the airplanes that replaced them.

I had never written anything before in my life except maybe in high school when I wrote a short story, and my mother had to put an ending on that.

I had no particular image of Chicago in mind when I wrote 'My Kind of Town.' All I wanted to do was write a song in praise of Chicago, and that's what I did.

As I remember, the first real poem I wrote was about the wheat fields between Spokane and Pullman, to the south.

I brought my personality and sense of wonder and I think they wrote as much of my personality as they could. I do not go around kicking butt and saving the universe all the time but they tried to capture me as best as they could in the character.

Ten years ago, you wrote a book and you never expected to find out anything about the author. Now with social media, everyone wants that connection. I think our readers want to be invited into our lives and brought on the journey and be part of this whole process.

'Diary of a Teenage Girl' was my first American movie. It was my first movie in an American accent. It's based on a graphic novel, which was written in 2002 by someone called Phoebe Gloeckner. It was turned into a play by Marielle Heller, who then wrote it as a screenplay for Sundance Labs.

When I wrote the eight fairy tales that appear in 'Horse, Flower, Bird' I was working toward a completely new form of artistic expression, trying to create a new kind of tale that also felt vintage: innocent and childlike, but haunted. I tried to write a picture-less picture book.

I wrote a lot of fiction, but it was just college stuff. It seems to me you have to be so confident in yourself to become a writer.

After spending three years of my life looking into this, I am more convinced than ever that the U.S. government's responsibility for the drug problems in South Central Los Angeles and other inner cities is greater than I ever wrote in the newspaper.

I did three of the original 'Twilight Zone' episodes, yes. Also, I did a little thing in the feature film, and then I wrote one of the episodes in 'The Twilight Zone's last round where I starred with Cloris Leachman and my daughter Liliana in a true sequel to 'It's a Good Life.' So, yes, I have a good 'Twilight Zone' alumni jacket.

Every Thanksgiving, we all write down three things we're thankful for and put them in a hat. Then we pass the hat around the dinner table and everyone has to guess who wrote what!

My mother wrote a couple of romances when I was a kid, and I always saw books in our bookshelf with 'Schroeder' on the spine.

In 1969, I wrote a musical called 'Mother Earth.' It was a rock musical with an ecology theme. We did it at the South Coast Repertory Theatre in Southern California where I was a member. It was a smash hit in this small theater.

The song 'Wolf Eyes,' I wrote because I felt like I was such a kitten. I want to be more of a wolf. I want to be stronger and more independent. I sort of wrote the song for that.

I wrote a lot of poetry when I was a teenager - mostly desperate love poetry!

I didn't choose a word or anything. I just wrote the song until it stopped.

I was listening to one of my favorite songs that Phil wrote and had an extreme emotional moment just before I got the news of his passing. I took that as a special spiritual message from Phil saying goodbye. Our love was and will always be deeper than any earthly differences we might have had.

I lived in the Republic of Ireland. I wrote a book about the North but as an outsider. The hatreds there were not mine. I never felt them. I liked how open in most ways Catalan nationalism was, compared to Irish nationalism. I disliked the violence and cruelty in Ireland.

As the Persians wrote very little about how they ran their affairs, the Greek propaganda of the 5th century B.C. has for centuries gone virtually unchallenged - indeed, for Edward Said, it was the beginning of Europe's long habit of misunderstanding and ill-informed contempt of the Middle East.

I had one of those defining moments in the fourth grade when my teacher said the story I wrote was the best in the class, and therefore I would be going Young Authors Conference where I'd get to hang out with authors all day.

John Muir, the famous naturalist, wrote in his journal that you should never go to Alaska as a young man because you'll never be satisfied with any other place as long as you live. And there's a lot of truth to that.

Books guided my life from high school, and the greatest, most interesting, most provocative, funniest, smartest people who ever lived in the last 200 or 300 years wrote those books. I would fall in love with Victor Hugo and read not just 'Les Miserables,' but 'Bug-Jargal' and 'The Toilers of the Sea' and so forth.

We met because Chad was in one of my classes, and I was looking for someone to write music with. I knew that he wrote his own music, and he seemed nice, so I found out he was going to be in a practice room, practicing his trumpet. He'd already said he was too busy to hang out or hear any new people or work on any music, so I stalked him.

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!

After graduation, I wanted to work for 'Sassy', which I loved, but it had folded. So I wound up at 'Seventeen' for three years on staff and two as a contributor, and I wrote these great stories that nobody ever believes 'Seventeen' does. Serious stories for teens about social justice issues - gun control, migrant farm workers.

When I first wrote 'Papa Hemingway,' there were too many people still alive, and the lawyers for Random House didn't want to OK it. But now all that's been filtered away by the passage of all these people. And having the fortune of surviving, I now feel that I am the custodian of what Ernest wanted the world to know about him and these women.

Well, I came the second year. I mean I just fit right in. They wrote a great person and I'm so lucky that I got to be part of the family.

I've been writing since I was about thirteen but didn't start a book until 2007. I spent four years writing a sci-fi novel before I wrote 'The Bone Season' at nineteen.

I wrote my first play as extra credit for my fourth grade English class. 'Can Helen Stop Smoking' was a satire on the ill effects of cigarette smoking. My friend Vicki Haugabrook played as Helen and I directed the show. At the time, my brother Vince was leading the campaign to get our grandmother to quit.

There aren't many great passages written about food, but I love one by George Millar, who worked for the SOE in the second world war and wrote a book called 'Horned Pigeon.' He had been on the run and hadn't eaten for a week, and his description of the cheese fondue he smells in the peasant kitchen of a house in eastern France is unbelievable.

I begin early in the morning and edit everything I wrote the previous day. I write until mid-afternoon. My goal is to write a chapter per week, and if I am not finished by Friday, I write on the weekend. I get a lot of fan emails and answer them every day. In the late afternoon, I attend to the business of publishing, etc.

I sat down to take a break from writing a book and wrote a spec feature that would end up being the movie 'Lies & Alibis' with Steve Coogan.

My original business model - I actually wrote this down - was 'interesting work for interesting people.'

There is something so hopeful about a diary, a journal, a new notebook, which Joan Didion and Virginia Woolf both wrote about. A blog. Perhaps we all are waiting for someone to discover us.

Only to he avoid misunderstandings, I must say that even last year, when I wrote my pamphlet, I heartily wished that Prussia should declare war against Napoleon.

'The Replacements' is where I met Jon Favreau, and we just clicked like, you know, like kids at a camp. And he wrote my next movie, which was 'Made.'

I made a movie when I was 15 years old with all my friends. This is when IMDb was a little more lax with its proceedings, so it's listed as one of my projects. I was 15 years old; it's a terrible movie. I wrote 50 percent of it because I wanted to kiss this one girl, and I wrote a kissing scene for it.

I wrote my first book at 20, but my whole focus from about the age of 12 was to be a writer.

One of my favorites is one called 'Rory's Radio' that I wrote about my brother Jeff's best friend growing up - his name was Rory Dunigan. I dedicated my first record to my brother, who got killed in a car accident in 1999, and I really didn't have any songs on the first album about him, nothing on a personal note.

When I first started writing, I wrote a book called 'Bruiser,' and it was pretty much set in Chicago.

I've always wanted to write an early reader. When I wrote my first novel, my goal was to make it an early reader, but it grew beyond the category.

I wrote 'Soul Keeping' because we are taught more about how to care for our cars than how to steward our souls. But you cannot have an impactful life with an impoverished soul.

I read the three 'Hunger Games' books in a week and because I liked them so much I wrote 'Just a Game.'

I wrote 'Time of the Dark' in 1978 and 'The Silent Tower' in 1984, so the thing that sticks out for me is how totally technology has changed. I suppose that's the great peril for real-world crossovers.

I was a 'young adult' when I wrote 'The Outsiders,' although it was not a genre at the time. It's an interesting time of life to write about, when your ideals get slammed up against reality, and you must compromise.

Albert Camus's 'La Peste' - 'The Plague' - had an enormous impact on me when I read it in high school French class, and I chose my senior yearbook quote from it. In college, I wrote a philosophy class paper on Camus and Sartre, and again chose my yearbook quote from 'La Peste.'

Directing was easy for me because I was a writer director and did all my directing when I wrote the screenplay.

My mom eventually told me if I wanted to be in the music industry, I should start writing my own songs. At that time, I was in junior high and had no idea where to start - I was writing joke rap songs with friends. Eventually ,I wrote my first song in high school, and my mom took me to go record it with one of her band member friends at his house.

I wrote my first 30 books as a teacher. I would read to my classes, and they'd give me feedback. I was trying to role model.

I didn't act in Israel, but I wrote plays at home and acted in plays at school. I tried to get an agent when I was 12, but they told me that I had too much of an accent.

Although a madman, Norton wrote letters to Abraham Lincoln and Queen Victoria which they took seriously.

I wrote a great deal about the Civil Rights Movement when I was writing for 'The Nation' in the '60s, and also for Esquire magazine. Reading the biography of Coffin, it just reminded me that in those days, when you saw the term 'Christian,' it usually meant people for civil rights and for justice.

To understand how black projects began, and how they continue to function today, one must start with the creation of the atomic bomb. The men who ran the Manhattan Project wrote the rules about black operations. The atomic bomb was the mother of all black projects, and it is the parent from which all black operations have sprung.

For my 23rd birthday, I received a nylon string guitar. I told myself that if I could play Eric Clapton's 'Tears In Heaven,' then I could play the guitar. I practised every chance I got, driving my housemates insane, until several weeks later I had a shaky version of the song down. I wrote my first song on the guitar a few weeks after that.

I recorded 'The End of All Things' right before I married my now wife. We had no vows publicly, so I wrote her this song and told her, 'This is how I see our relationship.'

I wrote 'She's a Lady' on the back of a TWA menu, flying back from London after doing Tom Jones's TV show. Jones's manager wanted me to write him a song. If I have an idea and I don't have a pad of paper, I'll write on whatever is available. What's the difference? Paper is paper.

There have been times I've planted stuff in songs where four years later I'll be singing it from a subconscious, kind of chameleon little lizard mind... and at a certain moment, all of a sudden, I'll hear a line from a different vantage point and it'll change its meaning. It's something I wrote but it changed because I did.

During my adolescence, our family dwelt in rural Alaska. We were dirt poor, Depression-era poor. Tarpaper shack and kerosene lamps. In those days I read because that's all I had. I wrote because that's all I had.

'Extraordinary' is an original fairy tale, a contemporary story. But like a traditional fairy tale, it heads quickly into frightening, bloody territory. I am afraid for my book, as it goes out alone into the world, just as I was frightened for Phoebe as I wrote and rewrote her story.

'Purple Plumeria' I dithered over for months and then wrote the whole thing between the beginning of July and end of August. The dithering and procrastination time was three times the writing times.

Right before I got 'Sons of Anarchy,' I actually quit acting for 18 months and didn't read a single script, and I wrote a film. I felt like I needed to do something that I had control over, as an artist, and also just do something where I felt like I had some control over my life, as just a human, out in the world.

I don't know how old I was when I started writing books. But, I was born in 1931, and I wrote my first book in 1961.

I didn't intend 'Hector' to be a self-help book when I first started writing. I wrote it as a little tale about a psychiatrist, like me, who sets off around the world in order to discover the vital ingredients for happiness.

I wrote in coffee shops in Japan when I was 22, 23, before I had the stamina to sit down and write. I liked the buzzy environment; I couldn't speak Japanese when I arrived, so it was kind of a white noise. It felt more sociable than being alone, but now, as I've developed a writing practice, I couldn't do it.

I had finished the first draft of 'Life As We Knew It' before Katrina hit, and it was startling to see things I wrote about actually happening in the real world.

I grew up listening in awe to stories of their wartime adventures. My granny, Joan, was a journalist and wrote amazing letters to my grandpa when he was a prisoner of war, while my nana, Mary, was a Land Girl, then a Wren. They were so independent, resilient and glamorous.

When I first started drumming, when I was 14 or 15, I started writing songs. I wrote for a couple of years, but when we started 'Radiohead' it became very apparent quite quickly that I just wanted to concentrate on the drumming.

I wrote what I felt I had to write, and I'm willing to put my own sanity and my reputation behind it.

I was freelancing for years in Cork and around. I also wrote freelance pieces for 'The Irish Times.'

I'm still driven by the feeling I had when I wrote my first book or read a Mrs. Piggle-Wiggle adventure.

Writing is the hardest thing I know, but it was the only thing I wanted to do. I wrote for 20 years and published nothing before my first book.

I've always written poetry and lyrics. My first husband, who was a musician, we wrote a bunch of songs together.

When I wrote 'Silver Linings,' I thought I was writing a book about the Philadelphia Eagles and male bonding, but when the book came out, it was surprising to me that the mental health community embraced it.

When there wasn't a lot of work, I wrote a screenplay, 'What Lies Beneath,' which got noticed and got me more acting jobs. As I got more jobs, I was able to make my own films. That ethos of making my own work has provided me with a lot of opportunities.

What's changed is we now have good anatomical, geological, archaeological evidence that Neanderthals are not our ancestors. When I wrote 'Lucy,' I considered Neanderthals ancestors of modern humans. We have gone back twice the age of Lucy, six million years. And we see that upright bipedal walking goes back that far in time.

My writing partner, Nicki, and I became obsessed with a monologist who performs unscripted shows equipped with nothing more than scribbled bullet points and a glass of water. We wrote him a fan letter and found ourselves sharing lunch and eventually a friendship.

When I sat down and wrote the first paragraph, I was like, 'Oh, I can go with this.' I didn't do an outline. I didn't do anything. I just wrote sentence by sentence, not knowing where the story was going.

My favorite book is 'Go Away Big Green Monster.' I wrote it for my granddaughter Adrian, who was in the third grade at the time.

When Shakespeare wrote, he wrote for the people. I know he got commissioned by kings and queens, but he also actually was writing plays for people to go and see, to take them on a journey of recognition so that they could see themselves within the characters on the stage. We as actors and theater companies and film companies have forgotten that.

The situation of the Old Left was the theory of Socialist Realism, etc. It seemed pointless to argue. We stayed carefully away from people who wrote for the New Masses.

I studied literature and Italian at Yale. I wrote my thesis about Italo Svevo, one of my heroes.

I think what it means to be an 'American Girl,' and what I wrote the song about, is our freedoms. The idea that we as Americans can be what we want to be and say what we want to say and that we take it for granted.

If you have a piece by Bach, he often develops the piece to such a high level that you can hardly do much more to it. But Saint-Luc wrote very simple baroque music, and so if you do not embellish it, it just falls apart. It's way too simple.

I write in a journal first, briefly. Then read something I've read many times before, for about half an hour, then rework what I wrote the day before.

'Somebody That I Used to Know,' like a lot of the record, was a bit of a struggle to finish. It was written fairly quickly - I wrote it in November 2010 - but it took six months to find Kimbra and really realize she was the right vocalist to make the female part come to life. There were constant hurdles.

I wasn't really conscious about 'The 39 Clues' movie when I wrote 'The Black Circle.'

I'd been listening to some old '70s disco, soul stuff, and I thought, 'Let's go into the studio and do something different. Let's do something that's super unashamedly pop and fun and danceable.' 'Trouble' is what we did. It's something that wrote itself.

When I wrote 'The World Is Flat,' I said the world is flat. Yeah, we're all connected. Facebook didn't exist; Twitter was a sound; the cloud was in the sky; 4G was a parking place; LinkedIn was a prison; applications were what you sent to college; and Skype, for most people, was a typo.

For my books of nonfiction I write about subjects I find fascinating. I've been a Yankees and a Lou Gehrig fan for decades, so I wrote 'Lou Gehrig: The Luckiest Man.' It's more the story of his great courage than of his baseball playing. Children face all sorts of challenges, and it's my hope that some will be inspired by the courage of Lou Gehrig.

I wrote an episode for 'thirtysomething,' and a producer said, 'That's really good, but what is it about? What does it say about you? What questions are you asking yourself?' I had never thought about that. This comment changed who I was, because it made me look at my own soul, the dark corners in my soul, and accept that dark side.

The book, you understand, was not written for publication. It was the portrayal of my emotions, the analysis of my own soul life during three months of my nineteenth year. I wrote then all the time, just as I do now, but, though the book is in diary form, it is not a diary.

I wrote the tunes and sang only nonsense words. Then came Moore and dressed them with the lyrics.

I hate shows, personally, where people stand around tossing stuff at each other, and any character can say any line, because you don't believe any of these characters care for each other. I used to fight with my friends who wrote on 'Seinfeld,' because they had such great pride in saying it was a show about nothing.

I don't think anyone would bat an eye if I wrote a song.

I was the typical little sister who wanted to be just like her older brother. When I was growing up, my brother wrote phenomenal stories, so I wanted to write them, too.

As I wrote I began to see more strongly that there were inescapable analogies. You couldn't really live through the '80s without feeling how crass and distasteful some of the economic doctrines were. The slave trade is a perfect model for that kind of total devotion to the profit motive without reckoning the human consequences.