To shift the structure of a sentence alters the meaning of that sentence, as definitely and inflexibly as the position of a camera alters the meaning of the object photographed.
Joan DidionRead
Writers are only rarely likable.
Interpretation
Writers often have complex personalities that may not be universally appealing.
Joan Didion suggests that the nature of being a writer is often intertwined with a certain complexity, making it difficult for writers to be easily likable. The creative process can lead to a deep introspection and often a disconnect from conventional social norms, which may result in a perception of unlikability among others.
In practice
In a literary discussion, one might say, 'As Joan Didion said, writers are only rarely likable, which often adds depth to their work.'
To shift the structure of a sentence alters the meaning of that sentence, as definitely and inflexibly as the position of a camera alters the meaning of the object photographed.
The truth is, it's easier for me to write than talk... to express the state I'm in at any time.
Memories are what you no longer want to remember.
It was clear, for example, in 1988 that the political process had already become perilously remote from the electorate it was meant to represent.
I mean maybe I was holding all the aces, but what was the game?
Do not whine... Do not complain. Work harder. Spend more time alone.
It's hard to write a good play because it's hard to structure a plot. If you can think of it off the top of your head, so can the audience.
Writing well involves walking the path of most resistance. Sitting still, being patient, allowing the lunatic dream to take shape on the page, then the shaping, the pencil on the page, breathing, slowing down, being willing–no, more than willing, being wide open–to press the bruise until it blossoms.
Guess what, I might be the first hippie pinup girl.
I figured as long as the music stayed hot and important and good, that there would always be a reason for 'Soul Train.'
Digital photography is, by definition, unfinished. You don't feel that after every 24 or 36 shots you have to change your film - you know you can go on for ever if you want. You can see the result immediately, and find out if your original idea is worth going on with or not, whether it can be corrected, whether it can be improved.
As a director, I design every movie to be true to itself, and damn it if they like it, and damn it if they don't.
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