Arthur Miller Quotes

It's rather useless to write a gripping narrative with nothing in it but climate change because novels are always about people even if they purport to be about rabbits or robots.

It's always about the project itself than a character for me. It's all experiential.

Writing a novel is like working on foreign policy. There are problems to be solved. It's not all inspirational.

I never started from ideas but always from character.

A writer doesn’t solve problems. He allows them to emerge.

The process of writing fiction is totally unconscious. It comes from what you are learning, as you live, from within. For me, all writing is a process of discovery. We are looking for the meaning of life. No matter where you are, there are conflicts and dramas everywhere. It is the process of what it means to be a human being; how you react and are reacted upon, these inward and outer pressures. If you are writing with a direct cause in mind, you are writing propaganda. It's fatal for a fiction writer.

I never think about issues when I'm working on a novel. Issues are things that happen to people in sufficient numbers to elicit widespread attention; in other words, they're just life happening. That's what I think about: life, and telling a story.

I've never invested myself properly in trying to write stories. When I write lyrics, mostly I write each sentence separately on an index card and then I lay them out and I just mix them up.

You could perhaps better tell the story of a place by writing of a tiny village as a sort of prism into the bigger issues the culture was facing. It struck me as a better way to learn about a place, or at least a different way, than just going to interview the president. So I have often tried to tell the story of a place through people there. But I'm just amazed.

Characters more or less present themselves to me. I don't know their origins. I think if I did, if I seemed to myself to fabricate them, I could not induce suspension of disbelief in myself in the way writing fiction requires.

It's my opinion that if you're trying to tell a realistic story that centers around realistic characters, you can't help but touch on important issues. Those issues are what make us human.

Writing is work, but it's also a compulsion, and once you get your characters on paper, you can't abandon them. You have to respond to them.

Each story tells me how to write it, but not the one afterwards.

You have total control of it, and when you're an actor, you're subject to production design and costumes and directors and studio choices and producer choices, but when you're writing it, you're creating your own little world in your head, peopled with your little characters. No one is in there monkeying with it, at least not at first - though they will. With this and the other projects I'm working on, it'll have to be given away, and it'll have to be someone else's property.

You have to write a song around this specific character or to enhance a specific scene. A lot of other craft goes on.

People at a point of conflict are always the most interesting stories to tell.

It begins with a character, usually, and once he stands up on his feet and begins to move, all I can do is trot along behind him with a paper and pencil trying to keep up long enough to put down what he says and does.

I discovered John Truby ten years ago when a friend told me about his screenwriting course. I studied Truby's principles for a year and -- using them -- I wrote the first draft of The Thieves of Ostia in two weeks. I go back to his teachings before each new book I write. Each time I study Truby, I learn something new.

What I try to do is write from the inside out. I really try to jump into the world of the film and the characters, try to imagine myself in that world rather than imagining it as a film I'm watching onscreen. Sometimes, that means I'm discovering things the way the audience will, with character and story.

As an actress, you're living something through the duration of the play and its geography. I've always seen writing the same way. It's like somehow I'm moving through the terrain of the book as a performer.

It's funny - for a long time, I didn't know I was writing a book. I was writing stories. For me, each story took so long and took so much out of me, that when I finished it, I was like, Oh my gosh, I feel like I've poured everything from myself into this, and then I'd get depressed for a week. And then once I was ready to write a new story, I would want to write about something that was completely different, so I would search for a totally different character with a different set of circumstances.

They always say, doing what I do for a living, write what you know and then people will respond to it. I luckily had a very charming, lovable mom who I think everybody could see bits and pieces of their mom in. All I had to do was write a character that was like my mom, and it made my life easier.

When it’s too good, you do it over again. Too good is too easy. If it’s too easy you have to worry. If you’re not lying awake at night worrying about it, the reader isn’t going to, either. I always know that when I get a good night’s sleep, the next day I’m not going to get any work done. Writing a novel is like working on foreign policy. There are problems to be solved. It’s not all inspirational.

One of the things that I learned in television, and one of the beauties of television, is that, if you have a strong writing staff, they rely on you just as much as you rely on them. They look to me or the other actors to help inspire them to take the character in interesting directions.

I love writing and do not know why it is considered such a difficult, agonizing profession. I love all of it, thinking up the plots, getting to know the kids in the story, their parents, backyards, pizza toppings.