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I have never looked like being in that incredible virtuoso class like, say, Stan Getz. I think people made a mistake and put me in that embryonic class when I was very young and thought that I was going to branch out to be a big instrumentalist in some way or another. But I always find that I very, very seldom get anywhere near what I consider a satisfactory standard. I would much rather be judged for my writing because writing is a thing that you can have second thoughts about and, if it isn’t right, you can’t blame somebody else but yourself.
--
Times obituary, 8 Feb 2010

 

John Dankworth

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I would keep writing even without the eventual possibility of glory. Really, with writing, the idea that I was going to be able to support myself was a long shot. I’m living off my writing now, without grants or a part time job, and it feels so tenuous. It could go downhill tomorrow, you know? I was writing before I thought it was even a real possibility to support myself with my writing, and I’ll keep writing after it becomes clear that it isn’t a real possibility after all. Not because I “must write” or because it’s “in my blood” or anything poetic like that. Or maybe those are just fancy ways of describing this certainty I have that all of my worth is wrapped up in my writing. From very young it seemed to me that writing was the only thing I did that was worthwhile. That had a chance of lasting. So, my work is something I have always given priority. The rest of my life can be falling apart, and it often seems to be, and I still take the time to work on the comic, or short stories. I am always moving forward with my writing. In a way I do treat everything else as a support system for the writing, but it isn’t really. And by treating it that way, I tend to neglect it.

 

Joey Comeau

 

But you could do extreme programming. In fact, I had a college buddy I did pair programming with. We took a compiler writing class together and studied all that fancy stuff from the dragon book. Then of course the professor announced we would be implementing our own language, called PL/0. After thinking about it a while, we announced that we were going to do our project in BASIC. The professor looked at us like were insane. Nobody else in the class was using BASIC. And you know what? Nobody else in the class finished their compiler either. We not only finished but added I/O extensions, and called it PL 0.5. That's rapid prototyping.

 

Larry Wall

 

Growing up the way we did, (Minutemen lead singer/guitarist) D. Boon and I never heard jazz until we heard punk, and then we thought it was the same thing, because the jazz we were hearing really wasn't Stan Getz, it was the f**kin' John Coltrane, Albert Ayler, Eric Dolphy, Ornette Coleman, it was wild and it made us crazy! We thought it was the same thing, just in an earlier time! For us, not being sophisticated and not knowing the chronologies and coming from Alice Cooper and Blue Oyster Cult, we really didn't understand this. The passion and all of that, we thought it was the same! We didn't see the color lines or whatever in the music, to us it was the same vibe!

 

Mike Watt

 

I was one of the first guys writing comic books, I wrote Captain America, with guys like Stan Lee, who became famous later on with Marvel Comics. Stan could write on three typewriters at once! I wrote the Human Torch, Submariner. I worked my way down. I started off at the high level, in the slick magazines, but they didn't use my name, they used house names. Anyway, then I went downhill to the pulps, then downhill further to the comics. I went downhill class-wise, but I went uphill, money-wise! I was making more money in the comics. I wrote the original Mike Hammer as a comic, Mike Danger.

 

Mickey Spillane

 

I had gone thoroughly through some of the all-fiction magazines and I made up my mind that if people were paid for writing such rot as I read I could write stories just as rotten. Although I had never written a story, I knew absolutely that I could write stories just as entertaining and probably a lot more so than any I chanced to read in those magazines.
I knew nothing about the technique of story writing, and now, after eighteen years of writing, I still know nothing about the technique, although with the publication of my new novel, Tarzan and the Lost Empire, there are 31 books on my list. I had never met an editor, or an author or a publisher. l had no idea of how to submit a story or what I could expect in payment. Had I known anything about it at all I would never have thought of submitting half a novel; but that is what I did.
Thomas Newell Metcalf, who was then editor of The All-Story magazine, published by Munsey, wrote me that he liked the first half of a story I had sent him, and if the second half was as good he thought he might use it. Had he not given me this encouragement, I would never have finished the story, and my writing career would have been at an end, since l was not writing because of any urge to write, nor for any particular love of writing. l was writing because I had a wife and two babies, a combination which does not work well without money.

 

Edgar Rice Burroughs