A Quote by Jim Rash
Writing sketches, you're also learning about a journey and characters, and you translate that to bigger things.
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Writing sketches, youre also learning about a journey and characters, and you translate that to bigger things.
What I like about writing a stand alone novel is you're starting with a fresh world and fresh characters. Part of what I love about writing is that journey of discovery where it's all new to me as well.
The reader has information about the characters that the characters themselves don't have. We all have our secret sides. Even I come to understand things about the characters only through the writing process, as I am going along.
What interests Sam Mendes are characters and relationships, and he was a genius at giving you the freedom to create the type of character you want, and also to explore and have fun with your fellow actors. For him, characters and relationships are really the heartbeat of the film, and then the action is the backdrop. By developing the characters, he makes you care that much more about the action and going on a journey with the characters.
There's no journey worth taking except the journey through one's self. That's the most important journey you take. I found that out as I went around the world many times: I was learning about me.
I'm finding that writing poetry is strengthening my songwriting, because you're learning to make a piece of writing work on a page with nothing else. I was also finding within poetry I felt a lot more free to write about very different matters, to write about social issues or things that are going on around me.
I approach writing female characters the same why I approach writing male characters. I never think I'm writing about women, I think I'm writing about one woman, one person. And I try to imagine what she is like, and endow her with a lot of my own thoughts and history.
People like stories that are bigger than life, about characters with unusual powers. And when you get all the characters in the zodiac, it's so colorful, and it's so rich in different attitudes that the characters have.
Dysfunctional co-dependent relationships always appeal to me. I don't know exactly how it started. I start writing sketches of characters and little scene-lets, and then it builds.
In teaching writing, I'm learning new things about writing.
We seek to craft characters who inspire empathy: characters our audience will care for and, as a result, will care about what happens to them and thus will share the journey we have charted. A story, after all, is the character's journey.
You become a writer on a television show, and you see yourself doing bigger and better things, you don't wait till they tell you, "Here's the way to do bigger and better things," you start writing. You start writing that material that you might be doing off to the side. Nobody's going to be paying you for that, but it could turn into something big.
One of the great things about writing a series is that with each book, the novel is meant to stand alone on its own legs, but also to bring along those loyal readers who become attached to the characters over the years.
One of the things I love about writing is the way you can use what you know and what you've experienced, without actually writing about yourself. I've given many of my experiences and perceptions to many of the characters in the book, but none of them is me.
For the most part, my characters don't talk to me. I like to lord over them like some kind of benevolent deity. And, for the most part, my characters go along with it. I write intense character sketches and long, play-like conversations between me and them, but they stay out of the book writing itself.
What people like are things to laugh at. Funny shows. It's all in the execution, the writing and the characters, not the setting. And the writing and the execution and the characters are GREAT on (Everybody Loves Raymond).
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