A Quote by Aaron Ehasz
We have a writing process that's very much you try to create the character in a complicated way and then you let the story lead you to discovering who the character is in a natural way.
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When I'm writing, I try to have the mask of my character on as I'm walking through the world. When I'm not at my desk, the rest of the time, I try to stay in that character and see the world the way that character would It's almost like method acting in a way — keeping the character close the way the actor keeps a script close and always tries to be in character.
Honestly, when you're writing you try to stay on the story, on the character's mind, trying to throw stuff at them. There is danger, and the scares have to kick in the right places with the drama. And you try not to do too much to try to create those moments. Those moments create themselves.
I did not find that writing a diary with a lead male character differed in any essential way from writing one with a female character. They all had the same challenges in terms of attempting to establish an identity, coping with loneliness, friendships, relationships.
I don't worry so much about the audience. I want them very much to be involved and enjoy the movie, but I try to just inhabit the character in a full way, where I can create a personal stake.
What I try to do is write from the inside out. I really try to jump into the world of the film and the characters, try to imagine myself in that world rather than imagining it as a film I'm watching onscreen. Sometimes, that means I'm discovering things the way the audience will, with character and story.
Everyone is complicated one way or another. But it's interesting to dig into a complicated character, to try to find that within yourself.
In a way, I don't create anything; I just open myself to the character, and the character takes over. Of course, I'm aware of it, and I'm driving it, but I don't try to control it. If I try to control it, it goes wrong.
All I try to do is as earnestly and as acutely as I can, conceive a character and try to portray this character just honestly. If the humor is within the absurdity and the awfulness of situations, then let it be seen that way.
The story drove the book. That had a very seminal effect on the way I saw writing and storytelling. If you can set a character in a story that is compelling and has a backbone, you draw people in.
Where does a character come from? Because a character, at the end of the day, a character will be the combination of the writing of the character, the voicing of the character, the personality of the character, and what the character looks like.
There are a couple of strategies for writing about an absence or writing about a loss. One can create the person that was lost, develop the character of the fiancee. There's another strategy that one can employ, maybe riskier... Make the reader suffer the loss of the character in a more literal way.
It's a different kind of acting, this 'Law & Order' thing. They want two partners who can play off each other well and are fun to watch, but depth of character is not necessary in this job. Too much character gets in the way of the story. This is a very specific gig.
A dream inspiring a story is different than placing a description of a dream in a story. When you describe a character's dream, it has to be sharper than reality in some way, and more meaningful. It has to somehow speak to plot, character, and all the rest. If you're writing something fantastical, it can be a really deadly choice because your story already has elements that can seem dreamlike.
I was hesitant to do 'Mulan II.' For me, I felt like the story that needed to be told, this legendary character of Mulan, was already encompassed in the first movie, and I was worried they would try to create this crazy cartoon character out of this legendary character of China.
'Seize the Story' takes readers all the way through the process of writing fiction, from beginning to end. Every element, from dialogue to setting, plotting to character creation, is laid out and illustrated with examples. But the tone of the book is not that of a dry writing manual - it's definitely written for teenagers.
As an actor, I come to set, and I have already broken the character down by writing a poem about the character. I try to write in his voice, the way he would write it.
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