A Quote by Alice Munro
You want in all cases for the story to get through the writing.
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Eventually the writing takes time. What I want to do is get the story down and I want to know what happens as I write my way into the knowledge of the story.
Translation is harder, believe it or not. You do have to come up with a story, and actually I'm mystified by that process. I don't exactly know how the story just comes, but it does. But in writing a story that you're inventing, versus writing a story that somebody else has made up - there's a world of difference. In translation you have to get it right, you have to be precise in what you're doing.
When I get to tell a story through music videos or TV, it's all about finding the story that I want to tell, so I'm definitely open to acting roles, it just depends on the story.
I approached writing a story for the CBC Literary Awards as a mercenary venture - $5,000 for one story, not bad. Now, how do you win it? Jurors are wading through skyscrapers of paper, looking for one story that stands out.
Well, let’s start with the maxim that the best writing is understated, meaning it’s not full of flourishes and semaphores and tap dancing and vocabulary dumps that get in the way of the story you are telling. Once you accept that, what are you left with? You are left with the story you are telling.
The story you are telling is only as good as the information in it: things you elicit, or things you observe, that make a narrative come alive; things that support your point not just through assertion, but through example; quotes that don’t just convey information, but also personality.
I think a good writer is a mix of confidence (sure that what they're writing is going to appeal to their readers) and uncertainty (what if all these words are crap?). If you're too confident, you get an attitude that seeps through into your writing, affecting the characters and the story. If you're too uncertain, you'll never finish anything.
I think in most cases, when you're writing a song, you're just making up a little story, and you're not really thinking about making a point one way or another about it. You're just coming up with a little scenario and seeing it through, and that's it.
'Police Story' had some of the best writing on television, and one reason for that is because most of the scripts were based on real cases.
When a parent comes into school waving a book and saying, 'Take this book away. I don't like this book.' I won't say in all cases, but in many cases, that will not happen anymore. It has to go through a proper review board. The complaining parent will have to fill out a complaint, you know, put it in writing.
I didn't know how story worked. So, when writing the screenplay, people introduced me to the science of it. And I'm grateful. I'll probably use that information for the rest of my career, in terms of writing novels or writing stories. And then, of course, to help me live a better story, a more meaningful story
Writing is hard work, not magic. It begins with deciding why you are writing and whom you are writing for. What is your intent? What do you want the reader to get out of it? What do you want to get out of it. It's also about making a serious time commitment and getting the project done.
Sometimes we don't want the bad guy to get caught because otherwise the story is over. You want to at least see it through to the end.
The issue is not whether there are horrible cases where the penalty seems "right". The real question is whether we will ever design a capital system that reaches only the "right" cases, without dragging in the wrong cases, cases of innocence or cases where death is not proportionate punishment. Slowly, even reluctantly, I have realized the answer to that question is no- we will never get it right.
I don't find that writing about parts of my life had much effect except in some cases to improve my memory. To get into parts of the past I want to recall very vividly, I use a form of directed meditation.
I'll give you the sole secret of short-story writing, and here it is: Rule 1. Write stories that please yourself. There is no rule 2. The technical points you can get from Bliss Perry. If you can't write a story that pleases yourself, you will never please the public. But in writing the story forget the public.
Essentially, the scripts are not that different. Let's say, in literary terms, it's the difference between writing horizontally and writing vertically. In live television, you wrote much more vertically. You had to probe people because you didn't have money or sets or any of the physical dimensions that film will allow you. So you generally probed people a little bit more. Film writing is much more horizontal. You can insert anything you want: meadows, battlefields, the Taj Mahal, a cast of thousands. But essentially, writing a story is writing a story.
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