Twinkle Khanna Quotes

There are certain topics songwriters stay away from because it's hard to go there. I didn't sit down and go, 'I want to write something about my dad now.'

Combine a left-leaning upbringing with a family with direct experience of the Holocaust and someone with aspirations to write and I guess, sooner or later, that person will have a stab at writing something about the Holocaust.

Each time I write a new piece, whether a novel, a picture book, a speech or anything, really, it has so much to do with what I'm going through personally or a problem I'm trying to work out. When I wrote my novel 'Baby,' my three children had all just gone out the door.

The first book I could call mine, my first book, was a picture book, 'The Magic Monkey' - it was adapted from an old Chinese legend by a thirteen-year-old prodigy named Plato Chan with the help of his sister.

I remember I was in grade school, the fourth grade, in a free reading period in the library. Someone in my class found a copy of the Forbes 400, a list of the richest people in America, and my dad's name was on it.

When I think of how we show faith, I cannot help but think of the example of my own father. I recall vividly how the spirit of missionary work came into my life. I was about thirteen years of age when my father received a call to go on a mission.

A lot of writers dwell on their relationships with their mothers, but only a few are worth reading.

I try to be a friend to my boys just the way my dad was with me. Subconsciously that reflects in my writing.

I wrote a song a good long while ago, 'I Ain't Livin' Long Like This,' that has been around and been recorded by a lot of people, but it was basically childhood memory.

So many American plays are about family. When you're in the first part of your life, you write about family a lot. I find with my absurdist plays that I was actually writing about my family, but so disguised I didn't realize it myself.

We've had several cats. I had a cat when I was a kid. My Aunt had lots of cats and I got lots of calls about cats.

I make films for myself, first and foremost, just because it is such a personal experience, and it's something I really have to want to do and feel connected to.

What I regretted in La Nausee was not to have put myself completely into the thing. I remained outside my hero's disease, protected by my neurosis which, through writing, gave me happiness.

I feel like if writers used writing as therapy we'd have a ton of happy writers.

I think I can design a children's line after I have a child. For me, when I take on a new category I feel like I need to be really well educated in it. I have lots of friends with kids, and I enjoy shopping for them, but I think until you have a child, it's really hard.

The novel tradition is the closest thing I have to a religion, and being a part of that tradition means a lot to me. I don't really see - I never have seen - why I should have to forfeit that feeling, or hope, of belonging, just because the stories I want to tell are close to my own experience.

I've been acting since I was young because I wanted to, not because my parents wanted me to. My dad is a principal and mom is a middle school counselor, so acting was like, "Eh, whatever. As long as you get good grades." It's really fun, and nothing more.

I enjoyed [playing lawyer in From The Hip] as an ode to my dad. My dad went to Harvard and Harvard Law School, so he had some friends that practiced in Boston. So, there was a big law firm that he hooked me up with the senior partner, then the senior partner hooked me up with a young lawyer who worked in the firm. And the young lawyer was married to a public defender. So I would hang out with them, and I could see both sides of it, those that are corporate attorneys and those that help the poor and the disenfranchised.

If the motive of writing is for some people a kind of exercise in dirty laundry, that's one thing. I've always thought of my poems as meant to be overheard, as I think all of these poems are. It seems to me if you get experience right, even your most painful or humiliating experiences - if you get those experiences right for yourself and make discoveries as you go along and find for them some formal glue - they will be poems for others.

The fallacy is that you have to hold some sort of stake in the grief or horror in order to write about it - I think the opposite is true.

I would just be constantly writing all these zingers - like, 'Burn. That would really get her.' And I know people are going to obsess over who it's about, because they think they have all my relationships mapped out. But there's a reason there are not any overt call-outs in that song. My intent was not to create some gossip-fest. I wanted people to apply it to a situation where they felt betrayed in their own lives.

In my lifetime I was to write only one book, this would be the one. Just as the past Lingers in the present, all my writings after night, including those that deal with biblical, Talmudic, or Hasidic themes, profoundly bear it's stamp, and cannot be understood if one has not read this very first of my works. Why did I write it? Did I write it so as not to go mad or, on the contrary, to go mad in order to understand the nature of the madness, the immense, terrifying madness that had erupted in history and in the conscience of mankind?

I got so discouraged, I almost stopped writing. It was my 12-year-old son who changed my mind when he said to me, "Mother, you've been very cross and edgy with us and we notice you haven't been writing. We wish you'd go back to the typewriter. That did a lot of good for my false guilts about spending so much time writing. At that point, I acknowledged that I am a writer and even if I were never published again, that's what I am."

Growing up, I was the weird, theatrical kid who always tried to make people be in my plays. I've always loved comedy, but when it came time to figure out what I was going to go to school for, my parents were like, "Acting?! I don't think so. No." It took me a while to get the courage to pursue it. I had to do it in secret for a little bit, and then when I got married and was out on my own, I went for it.

I was at a restaurant and I heard this little voice at a nearby table pipe up and say, 'I believe I will have the chowder.' I got up and walked out into the middle of the restaurant. There was Sterling Holloway just sitting there being Sterling Holloway. Never in a million years would I have imagined that I'd have the honor of filling his shoes. I just regret not going up to him and saying hello.