The picture alone, without the written word, leaves half the story untold.
What you're doing is putting into professional play the way that you relate to other people, the way that you analyze and relate to a written text, the way that you would persuade anybody to do anything. It has to do with listening, with humility and a sense of yourself.
I've written short stories in first person, but you have so much more control writing in third person. Third person, you know what everybody's thinking. First person is very limiting, and I could never sustain a first person novel before.
I've been with Life now for seventeen years and I have written several articles for them and will be doing more writing and do at least two assignments a year besides my writing.
I've written probably over 200 songs that have a verse and a chorus and that's it.
I haven't been the kind of writer about whom book-length academic studies have been written.
I have written every one of my novels to convince somebody of something.
Of course a politician's promise isn't worth the paper it's written on.
I've written something and I would like to have my first film directed by the time I'm 30.
There's a lot of artists whose contracts are written in such a way that they do not get paid for what's happening on streaming services.
The Wire,' I was such a fan of that show the first season - I think that's the best-written show on TV.
Basically everything I've done in art, I was in possession of when I was 20 years old. I use a waste retrieval method of working. I'll go back and use something that disgusted me 15 years ago but that I had enough sense to think about. Some artists change dramatically. I see my work more like history being written.
I took the first James Kelman novel, 'The Bus Conductor Hines', home to my dad. I thought, 'My dad will like this; it's written in Scots.' But my dad said: 'I can't read that.' He was reading James Bond and John le Carre. That was part of what attracted me to crime - the idea of getting a wide audience.
I've always written. At the age of six or seven, I would get sheets of A4 paper and fold them in half, cut the edges to make a little eight-page booklet, break it up into squares and put in little stick men with little speech bubbles, and I'd have a spy story, a space story and a football story.
I sit down and draw from my lyric book. I sit down and start looking through it and see if there is anything that strikes me that I've written.
I've given some money to the scholarships in the District of Columbia, to the best students in D.C... many of the students have written me letters telling me they could not have afforded to go to college without the scholarship and money I've given them.
Mostly I work really unconsciously, and I think if the scenes are really well written, which they are, and if I just throw myself into it, I don't really think about it.
I don't think you can write - at least not well - if you don't love stories, love the written word.
I haven't written my memoirs or let the television movie be made about my life.
I don't think anyone has written a great graphic novel.
But everything written has style. The list of ingredients on the side of a cornflakes box has style. And everything literary has literary style. And style is integral to a work. How something is told correlates with - more - makes what's being told. A story is its style.
I liked to think I had written 'scripts' when I was in high school, but looking back at them, they were about thirty pages of wannabe-Mamet dialogue with a staple through them.
Every pilot I've ever written, I've fallen deeply and madly in love with. It's the only way I work.
Conducting! A subject, truly, concerning which much might be written, yet scarcely anything of real importance is to be found in books.
Clown' was written when I couldn't find anyone who believed in me as an artist. Maybe those labels will think twice next time a young songwriter comes along.
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