My transition from wanting to be a cartoonist to wanting to be a writer may have come about through that friendly opposition, that even-handed pairing, of pictures and words.
Dichotomies are an inherent part of comics, aren't they? Comics are both pictures and words. They blend time and space. Many feature characters with dual identities like Bruce Wayne/Batman. Cartoonists also tend to live dichotomous lives because many of us have day jobs.
I am really into how words sound out loud, so I was always the kid who would, like, read the page of the book to herself in her room over and over and over. And Raymond Carver is great for that. Tobias Wolff is an author who is really good for that as well.
Writing about 2,000 words in three hours every morning, 'Casino Royale' dutifully produced itself. I wrote nothing and made no corrections until the book was finished. If I had looked back at what I had written the day before I might have despaired.
According to the Law of Cause and Effect, every effect must have a cause. In other words, everything that happens has a catalyst; everything that came into being has something that caused it. Things don't just happen by themselves.
Ever since the collapse of cap and trade legislation and the realization that President Obama is unlikely to ever utter the words 'climate change' in public again, much less use the bully pulpit to prepare the nation for the catastrophic risks of inaction, the movement has been in a funk.
To be political means to speak out, to risk being called 'catty', or worse. I don't hear men worrying about whether they may be right or not. They enjoy the fight, whether it is with words or fists. Women still tend to shy away from controversy, to be uncomfortable with competition.
In a world of cell phones and satellite feeds - a world in which the president can sit in the White House situation room and watch a military action unfold on the other side of the world - it is not realistic to expect TV news to be anything but what it has become: a ceaseless flow of words and images that may or may not be accurate.
When I grew up, a director was Cecil B DeMille, a guy sitting down with a megaphone speaking. He was the voice of God, the image of God. When I went to start making docs, I quickly turned the megaphone to my ear not to my mouth. It's more about funneling in the words and listening as doc filmmaker.
Even when writing your own poems, you need to talk to people; you need to magpie around, getting words and things. I'm very against the celebrity culture that wants to say: 'this is a genius, this is one person who has done something brilliant.' There are always a hundred people in the background who have helped to make it.
I'm not a 'real rapper'; I just like to talk about what I've been through. When I was younger, I just said random, stupid lyrics and censored myself because I was worried about what people would think. But now I've become more mature with my words and uncensored.
Submitting to censorship is to enter the seductive world of 'The Giver': the world where there are no bad words and no bad deeds. But it is also the world where choice has been taken away and reality distorted. And that is the most dangerous world of all.
Words do not change their meanings so drastically in the course of centuries as, in our minds, names do in the course of a year or two.
Whenever you speak to someone, you are presuming the two of you have a certain degree of familiarity - which your words might alter. So every sentence has to do two things at once: convey a message and continue to negotiate that relationship.
Just as Chairman Mao and Joseph Stalin started by going after the intellectuals, against those whose words who might form an opposition to them, so Trump has gone across us. Free speech is first among equals when we look at what is being violated by this new regime.
'Champagne' and 'breathmint' are the first two words all Oscar winners hear.
We must use words to uplift and include. We can use our words to fight back against oppression and hate. But we must also channel our words into action.
Being able to say something lyrically, to say something that will do more than just be words, is really hard. It's easy to do when you're writing a chapter of a book or writing poetry, but it's really hard to do when you're confined to a melody line.
As it is the characteristic of great wits to say much in few words, so small wits seem to have the gift of speaking much and saying nothing.
I honestly can't characterize my style in words. It seems that whatever comes to me naturally, I play.
