Quotes About Inspiration

It's kind of a mysterious process, but something will catch my attention, and I'll make a note about it. I may even write a few pages about it, and then I'll put it aside, but I'll sort of keep it in mind. Then as time goes on, other things will gather to it as if it's a magnet, almost, and eventually, there's enough to make the story.

I used to comfort myself with the idea of a book with serrated, detachable pages, so that you could read the thing the way it came and then shuffle the pages, like a giant deck of cards, and read the book in an entirely different order. It would be a different book, wouldn't it? It would be one of infinite books.

When I was about 8, I used to go into one of the rooms in the mansion, and I would open a magazine like the 'Ladies Home Journal,' and I would see these characters on the pages and then become them, talking back and forth.

It always amazes me that Japanese comics have, like, 200 pages. How do they do that? They're fat books; it's a whole different kind of comic that's very close to their films. So I'm drawing from that history and bringing it here - bringing it to Katana.

I can only write about two or three pages of fiction a day.

If I'd had the chance, I'd like to have completed my degree before going full-time, and sports journalism was something that always interested me. Dad used to buy a paper, and I always turned straight to the sports pages.

It has been a pleasure being in the same era. I mean, the guy's last name is Bolt, and he's the fastest man ever. You can't write a story like that, and so to be in the pages in there is nice.

Anyone can sit down and write two pages of a novel, then forget about it, and a week later write five pages of a screenplay, then forget about it, and a week later start another novel... etc, etc.

Inspiration is easy. The hard part is getting the inspiration onto 300 pages in an interesting, cohesive, easy-to-read but hard-to-forget story.

I was doing some research on menstruation for a column. I read about Arunachalam Muruganantham's life and work, and his story gripped me, and that is when I sat down, wrote the first few pages, and sent them off to my editor to have a look.

I think when I was 7, at school they got us all to write the story of Joseph and his brothers. I got a bit carried away and wrote 12 pages - everybody else wrote a page. The teacher was so impressed by it that she put it up on the wall for parents' evening. I thought, 'Oh, this is something that I really like that I also seem to be quite good at.'

It takes me two to three years to write a novel. A screenplay is 100 pages and takes five years.

When I write, I see the pages in my head, not the words.

To distract myself from writing, I was singing Bob Dylan's 'My Back Pages.' You know, 'I was so much older then; I'm younger than that now.' I thought, 'I should write a character like that.'

When I was growing up, 'Ebony Magazine' was a must read in our household. In those pages I found our news, our stories, and my pride.

If you're a model, you're paid to be a muse.

We're not getting paid. We have these great musicians with us and it gives us a real charge. And the audience gives us a charge, because they keep it interesting all the time.

Writing is finally play, and there's no reason why you should get paid for playing.

When I was younger I didn't really know what a director did: I knew I loved movies and I figured the actors made it up! And then when you get to 12 years old you start thinking, What does a director do? It was really an organic beginning: this looks like something I want to do, I can't believe people get paid to do it!

Creative output, you know, is just pain. I'm going to be cliche for a minute and say that great art comes from pain.

The anointing, which is God's power, comes on me... I can actually feel it. And people start getting healed. From the cancer, the pain is gone.

If you're an artist, you have to use everything to your advantage, even the pain.

I'm always more motivated by the pain of a funny character than by what makes him funny.

Animators can only draw from their own experiences of pain and shock and emotions.