Quotes About Writing

It occurs to me that, after the huge output of writing I've produced over the years, there is a close link between my twin careers as investment executive and financial writer: The power of the word and the power of the book have played a major role in turning my vision... into reality.

I think the only boundaries are individual and personal. A writer should be free to write about anything he or she wants to, including the twin towers. I have made small references to 9/11 in my past two books.

I'm a mother of a three-year-old, but when I started 'California,' my son wasn't even a twinkle in my eye. Because the book took as long as it did, I wrote it before I was pregnant, while I was pregnant, and as a new mother - so I enjoyed a diversity of experiences while creating this world.

I don't write from dreams because I don't remember mine, but I had a fragment of an image left about twins, whose father was telling them how their lives were going to go for the next eight years. I wrote a scene about that, and then another and then another and then another, and after five months I had 732 pages.

I used to throw on soundtracks, and orchestral stuff would be the only thing I could write to, maybe 'Dead Can Dance' or 'Cocteau Twins' or something. Mostly, it was movies scores that would kind of inspire me.

In the past, I've always written about my experiences, and people related to that, but there's a lot of other things that I've never written about that people have gone through. I'm still keeping it young and edgy, but I'm definitely putting more of a mainstream twist to it.

I was reading stories by Raymond Carver and some of his stuff sort of ended abruptly here and there, where in other short stories that I've read have a bit of an ending, a climax, a twist or something like that.

It seems so easy to write about some normal event and twist it a little bit to make it into a supernatural event.

For me, the worst writing generally just 'flips' things: this person's really a traitor; it was all a dream; etc. Nothing is so ruinous as a forced 'twist,' I think.

When you think of a great twist or a red herring or a way of misdirecting the reader, it is good, but you know that they are just tricks at the end of the day, and the way to keep interest is to write characters that people care about.

If one of my romantic-comedy colleagues had written and directed 'Love Actually,' they would have been torn limb from limb. I thought it was awful, contrived, dreadful. I could see every twist and turn. I thought it was despicable. It was the writing that got me.

In love stories you have to establish the mood and then you can go on. Writing thrillers are difficult because every scene needs a twist. May be comedy is even more difficult but I have no experience of it.

I try to write like the writers I admire - I rip them off in form. It comes from George Strait and Merle Haggard records, and country music in general is really good at that, the twisted phrase... So I'm always looking for that angle in my own work.

People ask me, 'Why angels? Why paranormal? Why teens?' In the beginning, I'm not sure I knew I was starting down any of those twisted paths - paths that now seem so familiar to me that they are downright comforting. In the beginning, I was just writing about love.

My husband has no desire to work with me; don't get it twisted. He gets paid a lot of money to write giant movies. He's not into humoring me with my projects. But, that being said, I did have the story credit on 'Blades of Glory,' and writing is something that I've always been interested in pursuing more.

Before I start, I trick myself into thinking I know what's going to happen in the story, but the characters have ideas of their own, and I always go with the character's choices. Most of the time I discover plot twists and directions that are better than what I originally had planned.

When I started 'Still Missing,' I had a few key plot points in mind, which I played around with mentally for a couple of months, then one day I just started writing. Not having an outline led to some cool plot twists, but also many rewrites! A lot of the plotting happened on subsequent drafts.

There are times that you have a plot in your head, but then you find that the characters don't want to do that. When you're looking at the story from the outside, you can create whatever twists and turns you want. But when you're writing, you're inside the characters' heads, and you see that they may be motivated to do something different.

My writing has always been what you call 'narrative fiction' in the sense that it's got very strong plots and twists at the end.

At all times, think like a writer, and keep those antennae twitching - that way, you pick up new ideas.

I actually credit Twitter with fine-tuning some joke-writing skills. I still feel like I'm working at it.

My friends found out that I was writing a book on Twitter. It didn't seem worth mentioning over dinner. They're all so successful themselves.

When you're writing in big block paragraphs, you can afford to have a redundant sentence now and then, but the Twitter format requires concision.

I do Twitter, but I'm still not great on it - I'm not good at writing short little jokes, so my Twitter's not really a jokey thing.