A Quote by Rob Walton

But basically, I'm trying to write a fun story. — © Rob Walton
But basically, I'm trying to write a fun story.
Sometimes I write music, sometimes I don't. I think I'm just writing more what's close to my heart, and musical stuff is close to my heart, and it's fun to write, and when something's fun to write you don't think about what statement you're trying to make or what genre you're trying to hone in on.
I see many people trying to write well about the wilderness, and essentially failing. To me there are basically two aspects of a failed outdoor story. One is the phony epiphany on the mountain top.
I continue to write songs that are topically related to social, political and economic issues of our time, but I also recognize that onstage, I have a lot of fun and audiences have a lot of fun, so I'm trying to package the messages in music and sounds that are fun to perform and fun to listen to.
The last story you should write is the most important story. You should start with a story that is just an amusing, entertaining, fun story to write and learn your writing chops with the least important things before you start applying them to the most important things.
Why a ghost story? Well, I love them. They're fun to read - and, yes, fun to write.
There's a story everywhere. Being bored to death someplace is basically a funny proposition. What you have to watch out for is you don't write a boring story about a boring place.
All my friends who wanted to write had got nowhere trying to write the great European novel. So I deliberately steered clear of that and set out to write something story-led.
I'm an actor, and I want to play flawed characters, and I'm a writer that wants to write flawed characters, trying to let something out and hoping people relate through that or have fun experiencing the story.
The way that I write novels in particular is I don't usually outline; I just write. Part of the fun is discovering what's happening in the story as I'm going along.
A story is a story is a story. The only difference is in the techniques you bring to bear. There are always limitations on what you can and can't do. But I enjoy that. Just like when you write a sonnet or haiku, there are rules you have to abide by. And to me, playing within the rules is the fun part. It keeps the brain fresh.
I found that many gifted people are so afraid of writing a poor story that they cannot summon the nerve to write a single sentence for months. The thing to say to such people is: "See how *bad* a story you can write. See how dull you can be. Go ahead. That would be fun and interesting. I will give you ten dollars if you can write something thoroughly dull from beginning to end!" And of course, no one can.
You have to write the story that's at the front of your head. There is no point in trying to write for the market; it won't ring true.
Before I studied story, I was trying to write a novel, and it was terrible. It wasn't going anywhere, and I couldn't figure out what I was trying to do. It was really hard; much harder than I thought it was going to be. Now that I've studied story, I think I'd have a different approach and maybe I could actually get it done.
I'd waste a holiday trying to set a story in this new place I'd visit, whereas I would never write a story about Indianapolis.
It's a great luxury to have the writer with you on a new play because you can write and re-write, just trying to get the arc of the story, of their relationship right.
At some point, you have to disconnect, if the obsession with playing a real person gets in the way of the movie at large. At the same time, we're all interested, as actors in trying to get as close to the real thing as we can, and whatever you can do in order to create that transformation feels fun and, for me, the furthest I can get away from myself is fun. It's all part of the costume, the accent, and all that stuff. It's about trying to get close without it being a detriment to the point of view of the story that you're trying to tell.
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