Hovering over me was the Chihuly chandelier. Chihulys are the pigeons of Seattle. They're everywhere and even if they don't get in your way, you can't help but build up a kind of antipathy toward them.— Maria Semple
The most contentment Maria Semple quotes you will be delighted to read
I got a huge knot in my stomach because if Antarctica could talk, it would be saying only one thing: you don't belong here. (277)
That's right,' she told the girls. 'You are bored. And I'm going to let you in on a little secret about life. You think it's boring now? Well, it only gets more boring. The sooner you learn it's on you to make life interesting, the better off you'll be.
Being in writers' rooms turns you feral.
You are swearing, you are going to very dark, mean places. You start out in the room with all these smart people, and you're all well-read and well-educated and the humor is really erudite. And then over the course of the year, after the production schedule grinds you down, it is just so mean and stupid.
This is why you must love life: one day you're offering up your social security number to the Russian Mafia; two weeks later you're using the word calve as a verb.
Its like a hypnotist put everyone from Seattle into a collective trance.
You are getting sleepy, when you wake up you will want to live only in a Craftsman house, the year won't matter to you, all that will matter is that the walls will be thick, the windows tiny, the rooms dark, the ceilings low, and it will be poorly situated on the lot.
I keep an elaborate calendar for my characters detailing on which dates everything happens. Im constantly revising this as I go along. It gives me the freedom to intricately plot my story, knowing it will at least hold up on a timeline.
We were like the Beatles, Dad.' 'I know you think that, sweetie' 'Seriously. Mom is John, you're Paul, I'm George, and Ice Cream is Ringo.' 'Ice Cream,' I said. 'Resentful of the past, fearful of the future...everytime we saw Ice Cream sitting there with her mouth open, we'd say, Poor Ice Cream, resentful of the past, fearful of the future.
My day is not that fun-filled or that filled usually with complications.
I felt so full of love for everything.
But at the same time, I felt so hung out there to dry, like nobody could ever understand. I felt so alone in this world, and so loved at the same time.
I think because I try to keep things as real as I can, or I try to start from a place of reality, I almost don't have the imagination to write a book that's not set where I am.
Unfortunately Seattle is my muse, for the better or worse of Seattle - I'm not sure.
Ruthless concern with story is what I learned in television.
After decades spent in rewrite rooms surrounded by other shouting writers, I discovered that I work best alone. I like being in charge of my time, working out the problems according to my own rhythms and being able to nap. That's a big one, the napping on demand!
Maggie Shipstead's prose is so graceful and muscular, so dazzling, so sure-handed and fearless, that at times I had to remind myself to breathe. Astonish Me is a treasure of small surprises.
You come out into the world after a season of TV and you're just swearing and saying mean things to people and they're looking at you like, Who are you? And oh yeah, you think, I have to reacclimate to the way people genuinely treat each other.
Breezy, sophisticated, hilarious, rude and aching with sweetness: LOVE, NINA might be the most charming book I've ever read.
I love the camaraderie of a writers' room.
I'm not too good when exposed to people
I think one of the good things about writing novels is that you always start from scratch.
When your eyes are softly focused on the horizon for sustained periods, your brain releases endorphins. It's the same as a runner's high. These days, we spend our lives staring at screens twelve inches in front of us.
The first stop on this crazy train is Kindergarten Junction, and nobody gets off until it pulls into Harvard Station.
I can pinpoint that as the single happiest moment of my life, because I realized then that Mom would always have my back. It made me feel giant. I raced back down the concrete ramp, faster than I ever had before, so fast I should have fallen, but I didn't fall, because Mom was in the world.
When I'm writing a book, I draw from my immediate experience, and my books are therefore almost a snapshot of where I am at that moment in my life.
My way of looking at the world is that if it is true, it is funny and it is dark. No matter how dark it is, I just think it is funny. I can't help it.
What's this?" She pulled out a card and held it away from her face.
"I can't read what it says." I took it from her and read it aloud. 1. Beeber Bifocal 2. Twenty Mile House 3. Bee 4. Your escape Fourteen miracles to go.
I can't tell you the number of times I've been in the middle of a perfunctory conversation, and someone will say, 'Tell us what you really think.' Or 'Maybe you should switch to decaf.
Maybe that’s what religion is, hurling yourself off a cliff and trusting that something bigger will take care of you and carry you to the right place.
I drop my kid off at school and then race home, and its a very limited time.
I can only do really serious writing for a couple of hours. And then I always go on a walk, I do a one-to-two-hour walk; I dont go running or hard hiking.
Mad About You fit my sensibility the most of any show that I worked on, and as a result, it was really fun. It felt like a very natural fit.
I want find a part of myself that I feel shame about, or that I feel really scared of exposing to the world.
Can you believe the weather?'...'Actually, I CAN believe the weather. What I can't believe is that I'm actually having a conversation about the weather.
Anything I write I ask myself: Is it true, is it entertaining?
You bet your bindi that’s how big I want it.
I spend my whole life trying to put up a front to prevent people from seeing certain parts of me. Weirdly, when I go to write, I feel like I have to expose it, almost compulsively.
When I'm sitting at my computer writing, I really have this fiendish smile on my face. I am not thinking about the past or the future or how it's going to be received. I feel that I'm very lucky that way; I don't carry that particular anxiety around with me. I'm not anxiety-free by any means, but that happens to be one that I've been spared.
My strength as a TV writer was my total lack of interest in television.
I'd say I never considered myself a great architect.
I'm more of a creative problem solver with good taste and a soft spot for logistical nightmares.
I think thats the most important job of a novelist - to bring authority to their writing.
Your mission statement says Galer Street is based on global "connectitude.
" (You people don't just think outside the box, you think outside the dictionary!)
When I'm creatively solving problems, I'm in my sweet spot, and nothing can take me out of that joyful present.
One of the main reasons I don't like leaving the house is because I might find myself face to face with a Canadian.
I'll see something awful on the street and I'll come home and say to my boyfriend, "I just saw the funniest thing on the street." It's a stance. It's the way I was born, or the way I was damaged.
The sooner you learn it's on you to make life interesting, the better off you'll be.