American - Writer | 1960 -
I was an actor for a little bit. That's when I started to understand fiction - and that one of the great things about fiction is that you're dependent on the characters as much as they're dependent on you.
Hilton Als
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Nothing is more flattering for a writer than when someone knows your work.
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What I feel is there are certain demands that you have to satisfy in any piece of writing. When it's just for me, it's just for me, but if it's a piece for a particular publication, I know what they're going to ask for.
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If I feel like I haven't really tapped into the essence of the story when I do an assignment, I may revisit it on my own, and that's when I feel freer to add my imagination. But I think that if you feel imaginatively towards a subject, you really shouldn't do it in a journalistic context, because then you're just fabricating, and that's crazy.
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One of the things I liked about writing for a magazine was a kind of anonymity. When you do books, it's different than magazine pieces because you become a 'figure.'
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One of the things that's great about writing for a magazine is that every week you get to be a different person. You're writing different things all the time and not slogging along for years on something.
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Eminem was someone that I discovered I liked, largely because of his relationship to language and to his mother.
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When you work at a magazine, you have to tell the truth. When you're not working in that format, it's fun to see where your mind takes you when the dictates have nothing to do with anyone but yourself.
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I think one of the things that started to hinder Baldwin as an artist later on was that he became really aware of power, so he wanted it, too. But if you look at the work before that, before 'The Fire Next Time' put him on the cover of 'Time Magazine,' it was much more intimate and a much more internal conversation.
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If you want to take writing on, you should pay writing the respect it deserves, which is to say, reading it.
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I didn't like '12 Years a Slave' because it was playing to the Spielbergian model of redemption.
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I'm not one of those people who's against all-black productions of Tennessee Williams plays, but there are lot more complex and natural ways to bring people of color into the theater.
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