We like the idea of a guy who gets away with it ("it" in this case being a variety of things: murder, robbery, general mayhem, adultery, screwing over the government, basic intimidation and thuggery, etc.). It's a very American ideal - the freedom to break the law.
It's also obsessiveness. I'll spend a lot of time working on a single sentence, debating over a dash or a colon, etc. I want things to be perfect. I know nothing will ever be as perfect as I want it, and this is very sad, but sometimes I can get close.
I've learned a lot about language from reading slush. You can immediately tell if a writer is in control of the narrative. This writer will avoid using too many words like "possibly," "probably," "maybe," "perhaps," etc. He/she will avoid using clichés, as well as a lot of metaphors, and won't take four sentences to say what they could in one (or write a great sentence and follow it up with a bunch of stuff that just weakens it).
I thought of the structure as musical. The first piece, for instance, contains the names/subject matter of every person to come in the book. Like a piece of music with themes, etc.
From personal experience, I completely agree that it is often easier to go for monotone sadness. When I was starting out, I wrote a gazillion short stories that ran the gamut of human suffering - drug addiction, child abuse, terminal illness, loved ones dying by all manner of misfortune, etc. In hindsight, it's clear that I mistook the power of the situation for the power of the story.
Mental health treatment is most likely available to the officers, but they may be reluctant to access it due to cultural beliefs within the force, fear of stigma, etc.
I've collaborated with artists that truly run the gamut: from members of the Wu Tang Clan and Capone, to Moby, Lady Gaga, and opening for artists such as Sheryl Crow, Jack White, and Chris Shiflett of the Foo Fighters, etc.
Traditionally, an engineer is responsible for capturing sound - microphone choice, gear, etc. A producer can have a number of different responsibilities - anything from songwriting to judging performances - setting mood, and (perhaps most importantly) choosing which songs to work on!
Success is different for every artist - I get psyched when i help realise their vision etc.
I have been, earlier in my life, a lazy writer. I'd spend three hours at the gym to avoid writing, or I'd just find other distractions - reading, doing laundry, talking on the phone, etc. But suddenly I was like a laser beam: I was relentlessly focused, sometimes to the detriment of other things.
Nonfiction ties your hands a bit, and just like writing poetry in rhyme, it can force you to make more brutal decisions in terms of word choice, plot, etc.
As a publisher what you are trying to build is a long life for a book, to help it find its readers in many different ways, whether or not it made this list or got that review, etc. I'm sure some of that thinking has been useful to me as a writer as well.
My experience as a Jewish American has often been as a spectator of one-sided conversations, or more like monologues, about Israel, Jewish History, Jewish identity, etc. Although there are profound divisions amongst Jews on all of these topics there are not many opportunities for deep and thoughtful dialogue about them.
To get started, track your expenses for a couple of months. Then you should be able to start filling in your estimated debits and deposits for the next few months. Once you get it rolling for a while, you will be able to see your budget for the upcoming months reflected in the estimated totals. You can even notice year-to-year trends, like bonuses, tax bills, etc. that come up routinely and it will help you budget accordingly.
I used LiveJournal frequently, almost daily, since ~age 13 until ~18. I kept a personal diary there. I also participated in various "LiveJournal communities". At the risk of sounding patronizing or something, I see LiveJournal and now Tumblr as wonderful because they give young girls ways to interact with eachother and learn and talk about new interests, ideas etc as well as support eachother emotionally.
I admire Joyce Maynard a lot, specifically her memoir "At Home in the World." Her writing is beautiful and fascinating and seemed to give me validation to the idea that I could write validly in earnest about my life with (my) very feminine point of view, and also that I could unapologetically explore the bad traits of my character (which I find to be more interesting to explore than the good traits), as well as explore other concepts that interest me like private vs public personas, age gap relationships, etc.
Just in terms of being able to be a professional artist, but also it's nice to not have to dread introductions. "What you do for a living?" It used to be easier just to tell people that I was a magazine illustrator than try to explain that I did comics, but not the kind of comics that they were used to, and no, it's not pornography, etc. And now people even of our parents' generation are familiar with the term "graphic novel," which is kind of amazing.
FAQ regarding my book were not about my use of commas or how the images went berserk, but about the political situation in Bosnia, about guilt and shame, about victims and perpetrators, about reasons, arguments and beliefs that led to the conflict in the first place, etc. All of this needed and still needs answering and ongoing discussions, but I mostly felt overwhelmed and unqualified to articulate anything worth more than personal experiences of the siege, of fear and refuge - all the things which I wrote about anyway.
Europe is not becoming more unified - well, yes, on paper - but not as long as the criteria for so many things (import regulations, border control, visa politics...etc.) are still made in an unjust, unreasonable way.
There is no one 'best set-up', there are many - you can get to mate in endless ways. And - don't forget! - in chess, like in literature, "the other" (the reader, the adversary, the partner, etc.) has to be a collaborator, has to work with you to get to the final goal. We depend on them! But they also depend on us.
On the other hand, Surrealism has been a part of Romanian literature since forever. Even before Tzara, who was originally Romanian, we had Urmuz, who was a surrealist before the term even existed. During Breton's era too, there was a very active Romanian Surrealist group (Ghérasim Luca, Gellu Naum, etc.) closely related to the French. They had to quit their activities as soon as the Soviet communists took over.
Curiously, the balance seems to come when writing is woven into every aspect of my life, like eating or exercising - one flows constantly into the next: I'll wake up and have coffee, read the news, then write a letter or two (always in longhand), then go teach, and after teaching write a bit in a journal - dreams, what I had for breakfast and lunch and why I had it, what's on the iPod, sexual habits, etc. - then read a bit, then work on a real bit of writing...you get the idea.
Fans these days seem to almost expect a response from band-members any time they tweet or leave a comment etc.
I have spent many years holding so tightly to things - wants, desires, etc. - but inevitably, they or something even better only arrives when I release the grasp.
I got my deal off MySpace.com. I wrote to J.R. Rotem. He is big producer. He's done a lot of stuff for Rihanna, 50 Cent, Britney Spears and etc. I thought, "Yo, this guy is really talented I want to work with him." Once I sent him message he didn't reply back. I kept on sending the messages. I kept on hitting him back like eight times a day. He eventually replied back like, "Yo, I want to hear more music."
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