A Quote by Barry Hannah
I don't really care about plot; I want to have a page-turner in a different kind of way.
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The definition of a page-turner really aught to be that this page is so good, you can't bear to leave it behind, but then the next page is there and it might be just as amazing as this one.
I don't really know what an adverb is. A dangling participle? That sounds really rude. I don't know what character is, really. Plot seems vaguely juvenile to me. It's all about language, it's all about how you apply it to the page.
I am a firm believer that a good plot makes for a fun enough read, but it's not what binds us. If we don't care about the characters, we won't care - not in a lasting way - about what's happening to them.
I usually base my characters on composites of people I know. One trumpet player in SIDE MAN is really a mix of four different guys I knew growing up. Patsy , the waitress, is a mix of about three different people. I like doing it that way. I start with the characters, as opposed to plot, location, or some visual element. I write more by ear than by eye. I always work on the different sound of each character, trying to make sure each has a specific voice and speech pattern, which some writers could care less about.
I think plot is very overrated. Plot is obviously necessary, but what I really care about is emotionally affecting the audience. Having a thought myself and then an emotional experience myself, somehow transferring that to the audience.
My books are primarily plot driven but the best plot in the world is useless if you don't populate them with characters that readers can care about.
You care enough, that you want your life to be fulfilled in a living way, not in a painting way, not in a writing way...you really do want it to be involving in living, corresponding with other living objects, moving, changing, that kind of thing.
You care enough, that you want your life to be fulfilled in a living way, not in a painting way, not in a writing way... you really do want it to be involving in living, corresponding with other living objects, moving, changing, that kind of thing.
Write what you really care about. Write what you want to say because that is the experience that always rates as genuine on the page.
Obviously, I care about the kids. Family, all that sort of stuff. But really, I don't care about life, don't care about death. Nothing. That's the kind of man you are dealing with. That's why I can't be beaten.
I love Tina Turner. I'm one of Tina Turner's biggest fans. Tina Turner was a big influence on me to become a singer. A role model and in a way she gave me back my confidence in choosing my material.
But my philosophy is that plot advancement is not what the experience of reading fiction is about. If all we care about is advancing the plot, why read novels? We can just read Cliffs Notes.
I don't have to worry about what people are thinking and what's going on in the industry. I don't want that stuff to influence what I'm doing. Because I think it stifles you creatively. I don't want to have to care too much about that. All I care about is what the fans think. It's really all I care about, honestly.
I didn't want to do comedy again. It is way harder when you are doing comedy. You can't just concentrate on the character and the plot. In comedy, the writers, instead of obsessing about character and plot, obsess about the jokes.
What I try to do is make sure that the directors I'm working with are on the same page and want to do the same kind of films. You can really protect yourself as an actor if you work with really good people. It can hide a lot of flaws along the way.
For me, starting each collection is always about what I really want, what I really need, and I was personally dying for sensual comfort. I think when you think of Donna Karan, you think of sensuality, but it's a different kind of sensuality. A kind of comfort sensuality that is one with your body and the way clothes feel on.
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