A Quote by Sally Lloyd-Jones
When we're about telling the best possible story, making the best possible book - we're thinking about the reader, rather than about our egos. And then we serve the story. Not the other way 'round.
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It's all about this abstract entity called the story. It's all about the best way to tell the story, and to make a movie about the issues that this story is about. Filmmaking is storytelling, for me.
The whole endeavor becomes less about a constraint on action and rather about helping us to be more of who we would actually like to be, at our best and if we felt it were possible. Rather than positioning effort as being about "thou shalt not," it becomes all about "can do!"
What I try to do is write a story about a detective rather than a detective story. Keeping the reader fooled until the last, possible moment is a good trick and I usually try to play it, but I can't attach more than secondary importance to it. The puzzle isn't so interesting to me as the behavior of the detective attacking it.
I feel like any actor should always be thinking about how to serve the story. The thing to be cautious of is trying to make too much of your "moment," or whatever. The story is a lot bigger than you, and you're there to help it along. The thing to think about is whether what you're doing is true to the moment and where the story's going, rather than going, "Here are my scenes. What can I try and do to make the most of them?"
We're trying, despite having done research and having obviously preconceived ideas, we try our best to be as open-hearted as possible, and try to create context. So that's always going to be the challenge, making a program like 'Gaycation', and we are always thinking about it, reflecting on it, and doing our best to show the whole picture as much as possible in a 45-minute span. Hopefully that comes across.
As a writer, I always try as hard as possible to get out of the way of the story, so maybe that's the most important thing my readers should know - I'm all about the story, not about the ego.
Thinking about making a love story without music was really frightening, Sciamma admitted. Because every love story we know, we think about 'Titanic' we think about the music, we think about 'Gone with the Wind' we think about the music, we think about 'E.T.' we think about the music, and every love story has its own tune, 'That's our song.'
My job as an author is to tell the story in the best way possible, to make it flow seamlessly and get the reader to keep turning the page.
It's about players making choices as they play, and then dealing with the consequences of those choices. It's about you telling your story, not me telling mine. It's about you.
You learn to do your best writing on story rather than off story. Very often at the beginning of their careers, writers including me do their best dialogue writing off story - the best lines, the best observations - but they haven't got enough to do with the plot to stay in.
Do the best work you can do and try not to worry about the fact that you are a woman covering the NFL and you have never played the sport before. Just focus on the story and study, prepare and deliver the best report possible.
I was thinking about framing, and how so much of what we think about our lives and our personal histories revolves around how we frame it. The lens we see it through, or the way we tell our own stories. We mythologize ourselves. So I was thinking about Persephone's story, and how different it would be if you told it only from the perspective of Hades. Same story, but it would probably be unrecognizable. Demeter's would be about loss and devastation. Hades's would be about love.
It's all still about having a good story. You have to have a good story as your anchor, as your main focus. So for me, personally, I just like to concentrate on writing the best book I can, and if there's other stuff that goes along with it, that's awesome, as long as the story is central.
One of the great things about being commander in chief is getting to know our men and women in uniform in a very intimate way, whether it's visiting Walter Reed and seeing our wounded soldiers, or being on a base and talking to families, or interacting with them on missions. They're the best of the best: always thinking about the mission, not thinking about credit, not thinking about who's up front.
The best critics do not worry about what the author might think. That would be like a detective worrying about what a suspect might think. Instead, they treat the reader as an intelligent friend, and describe the book as honestly, and as entertainingly, as possible.
I'd much rather be worrying about playing that note in tune, and picking out the best way to arrange the song, rather than thinking about pricing for the download. It's not art.
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