Kelly Sue DeConnick Quotes

In the end, my reasons for moving down the timeline and introducing a new cast have more to do with keeping myself entertained, on the assumption that if I get bored, my readers are going to be even more bored.

Artists in general never stay in the same place; we keep growing. It's still you: you still have that core that you always had, but you work with new people and hear new things.

I don't like books that play to the gallery, but I've become more concerned with telling a story as clearly and engagingly as I can.

As an artist, you want to have an experience. What you need to experience changes over the course of your life because your life changes.

I made a deliberate choice to write something people would enjoy, not knock people out with 'Boy, he can really put a clause together!'

I think it's a change that I did not intend at the time but it is clear that, from The Flower of My Secret on, there is a change in my films. A lot of the journalists have very generously attributed this to my growing maturity.

When I started out, I was definitely writing about experiences that I hadn't had yet. The songs were just based on my influences, songwriters that had written songs before me and that were more experienced and 20, 30 years older than me.

I think I've been able to build up a wide range of styles in storytelling, using comics in different ways from project to project. I think my art has become more accomplished, although I try to keep it from becoming slick or superficial.

I think that it's the job of the artist to be in transition and constantly learn more.

The fact is that at different stages of your life, and under the influence of different inspirations, you write different things. The point is not necessarily to find your voice, which grinds out the same sort of thing again and again, but to find a vehicle for people who are far more important than the author: the characters.

No art can be noble which is incapable of expressing thought, and no art is capable of expressing thought which does not change.

What I'm hoping is that every album I'm going to do will give my audience something different, and that they'll grow as I do.

I tried to reject everything I knew as a TV writer when I decided to be a novelist, and the books didn't work. Finally I realized I should go back to all the techniques I'd learned.

When I was a young artist, and I would go look at other artists' career retrospectives, and I was often disappointed with the lack of story line... What was missing to me was the story of where the artist came from and how they got to where they were.

I'm a very good storyteller; I have a lot of compassion for people. That's very useful for a novelist. A lot of novelists are snots. They're just mean people. I'm not a terribly skilled stylist, nor do I want to be. I want a lot of people to read one of my stories and go, 'That was pretty cool.'

People's lives change dramatically over such a long time period, and I think that if you're still vital, and you're still interested in writing and things like that, of course your music evolves and reflects where you are in your life.

Hollywood films have become a cesspool of formula and it's up to us to try to change it... I feel like a preacher! But it's really true. I feel personally responsible for the future of American cinema. Me personally.

I don't watch my own past films: when I watch them, I find they don't work very well, because I have changed. If I continue to make films, in fact, it is because I always want to repair my films. My inner rhythm has changed; I have changed. I have changed my way to film.

For me, the original play becomes an historical document: This is where I was when I wrote it, and I have to move on now to something else.

During my Austin years, I was drawing a regular strip for the University Of Texas newspaper, going to school, delivering blood, and trying to change my approach and 'style' as much as I could, since I knew that I'd calcify as I got older.

'Sag Harbor' was a very different book for me. It changed the way I thought about books that I wanted to do.

I think the narratives on 'Trans,' 'Plans,' and 'Narrow Stairs' moved away from the way I wrote on the first couple of records, which was a lot more impressionistic. I was writing those songs in my early 20s, so I thought I was being more clear than I actually was.

My work today is perceived as being classic, but when I first started out, it was a break from the norm. Since then, I have continued to reinvent myself. I don't change my style, but I allow it to evolve.

When I made my first film, it was just an adventure. But after my first movie, I guess I got more of a feeling of what was happening around me.

In my experience, every book you write changes the conditions in which you write the next.