A Quote by Ann-Marie MacDonald
In terms of the secrets that imbue and underlie 'Fall on Your Knees', they were as much of a mystery to me as I was creating the story as they are to the readers.
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In terms of the secrets that imbue and underlie Fall on Your Knees, they were as much of a mystery to me as I was creating the story as they are to the readers.
'Fall on Your Knees' is really a story about secrets and family, and the idea that there are some stories or truths that need to be expressed.
I needed to recognize those secrets I was keeping from myself- secrets I had buried long ago. I needed Post Secret just as much as the other people who were mailing me their secrets.
I love secrets. Here's a bunch of people who think they know each other over a long period of time. And they do. And they don't. Secrets aren't the same thing as shame, but they can fall in that category. I'm very interested in the ways that people are open and honest with one another and simultaneously in hiding. What we know about those we love is only part of the story. Who do we protect with our secrets? Others? Ourselves? These are questions that interest me in fiction. The public and the private self.
The answer to the mystery of existence is the love you shared sometimes so imperfectly, and when the loss wakes you to the deeper beauty of it, to the sanctity of it, you can't get off your knees for a long time, you're driven to your knees not by the weight of the loss but by gratitude for what preceded the loss.
Of course, I'm being rude. I'm spoiling the ending, not only of the entire book, but of this particular piece of it. I have given you two events in advance, because I don't have much interest in building mystery. Mystery bores me. It chores me. I know what happens and so do you. It's the machinations that wheel us there that aggravate, perplex, interest, and astound me. There are many things to think of. There is much story.
...you expect me to fall on my back with my legs spread." "Not necessarily. ... You can fall on your hands and knees if you prefer. Or against the wall. Or on the kitchen counter. I suppose I might let you be on top, if you make it worth my while.
Moviemaking is just really neat, and I really like doing that. I'd like to get into it more, but in terms of my role in all of this and in terms of the gift that God has given me, I had to come to the conclusion that my strength is as a storyteller, creating the story.
A man who tells secrets or stories must think of who is hearing or reading, for a story has as many versions as it has readers.
A magical blending of mystery, romance, and deep and dangerous secrets. Kelly Parra’s Invisible Touch is an action-packed coming-of-age novel, sure to keep readers turning pages and begging for a sequel.
The artist's job, I think, is to be a conduit for mystery. To intuit it, and recognize that the story-germ has some inherent mystery in it, and sort of midwife that mystery into the story in such a way that it isn't damaged in the process, and may even get heightened or refined.
Give your readers as much information as possible as soon as possible. To heck with suspense. Readers should have such complete understanding of what is going on, where and why, that they could finish the story themselves, should cockroaches eat the last few pages.
I do open endings on purpose. I expect a lot from my readers. I want them to do much of the work, because I believe that the story is built by the reader, not by the writer. I like having an open ending to a standalone fantasy, because it allows a continuing story to be written in the hearts of the readers.
'Run' is exciting, about family secrets, the mystery surrounding them and the outdoor sport of parkour. The story itself is full of intrigue and action, but the parkour takes the story to another level. It was an absolutely incredible experience, working with experts from all over the country.
You can't control whether or not you have talent. You can't control whether or not your work will be recognized or valued. But what you can control is how much work you put your art-both in terms of creating it and in terms of getting it out there-and that is where I try to focus my energy.
I don't sleep. All night long I'm wide awake, thinking, Secrets, secrets, secrets. There are secrets in my past no one needs to know. Secrets in my present that might kill Kim and Chip. I don't want to take my secrets with me when I go. When I pass through the light, i want to be free of everything and everyone.
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