A Quote by Camille Perri

I'm not sure if it's easier to address tough themes through humor, but I do think it's more fun and makes such themes easier to digest for the reader. — © Camille Perri
I'm not sure if it's easier to address tough themes through humor, but I do think it's more fun and makes such themes easier to digest for the reader.
And I think that being able to make people laugh and write a book that's funny makes the information go down a lot easier and it makes it a lot more fun to read, easier to understand, and often stronger. So there's all kinds of advantages to it.
When you're able to love and appreciate and take pride with yourself, that makes everything easier. It makes it easier to train, it makes it easier to be in the gym, and it makes it easier for everyone else to accept and love you.
What I think of as 'freakonomics' is mostly storytelling around an idea - not a theme but an idea. I like ideas much more than themes. Themes are boring. Themes are, 'Wool is back,' but ideas are, 'Why is wool back?'
Introduce your main characters and themes in the first third of your novel. If you are writing a plot-driven genre novel make sure all your major themes/plot elements are introduced in the first third, which you can call the introduction. Develop your themes and characters in your second third, the development. Resolve your themes, mysteries and so on in the final third, the resolution.
I don't want to deal with big, grand themes in my stories; art has nothing to do with themes. When you deal with themes, you are not creating; you are lecturing.
I think so many of the themes from the natural world mimic emotional themes in our lives.
If somebody asks me about the themes of something I'm working on, I never have any idea what the themes are. . . . Somebody tells me the themes later. I sort of try to avoid developing themes. I want to just keep it a little bit more abstract. But then, what ends up happening is, they say, 'Well, I see a lot here that you did before, and it's connected to this other movie you did,' and . . . that almost seems like something I don't quite choose. It chooses me.
[Robert] Ford had the idea that through fame he would receive some personal validity, but he didn't. I feel that these are not the main themes, but certainly themes that are at play in this film [Assassination of Jesse James].
We learnt a lot because we got in with real choreographers who tell you what they need from a song, because a song has to advance the story. Then real directors like Mike Nichols tell you where you can have 'B themes' and 'C themes', and we go oh yes, B themes and C themes! So we were taught in the finest school amongst the finest people. And also by the school of experience.
I always try to have my supernatural or fantasy elements feel grounded in reality so they're easier for the reader to accept and digest.
It makes it easier for you to play more often and it makes it easier for the manager if he has players who can be used in different positions.
Any underrepresented audience loves to see themselves on TV, but what's more important is that we're writing about universal themes - good versus evil, can you change yourself? These themes resonate for everyone.
I think comedy and satire are the strongest ways to deal with very serious themes and very painful themes.
I mean these are universal themes. I try not to preach, for sure. I don't enjoy movies that preach - so I don't want to preach myself when I tell stories because I just feel all of these themes are built into us in terms of redemption and mercy and love and compassion and all these things. And the negative sides, as well.
The problem with themes is that writers don't realise they are themes until someone points them out.
You can get anything from Mozilla Firefox-based themes to nature themes to your own photographs.
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