A Quote by Charlotte Mendelson

Show me a novelist – or, indeed, a reader – who wasn’t a socially awkward, self-conscious adolescent, prone to clumsiness and excessive reading and I’ll… well, I’ll probably bang my shoulder on the door frame as I storm out. Many of the most unforgettable female fictional protagonists are gauche, self-doubting, plain and think too much.
I think most interesting people are socially awkward even if they're able to hide it most of the time. If Henry Darger hadn't been a shut-in would we love him so much? Any act that we do in private is amazing and profound because it is private. You don't have to worry about being socially awkward in the privacy of your own home... well, unless I show up.
I think my voice worked out fine, but it was a lot of work for me. And I was very self-conscious about it. I was a bit self-conscious about writing lyrics too.
I want to say that what is cool about writing self-aware first person narrative is that the awareness is not necessarily the same awareness of the reader. I have a story coming out in the Paris Review and it's about a hipster. He think's he's self-aware, he's very introspective and analytical, but when you're reading it you can totally see through his self-analysis because you have a higher awareness than he does. I like playing with that too.
I don't like the camera. I get very self-conscious with it and then spend way too much time not looking self-conscious instead of being free, as I do on stage, to do my work.
I was at an all-girls' school, so there were a lot of us who were really awkward. I was this tall when I was 11, so I was really awkward and self-conscious. No one would really have wanted to be mean to me. I was too unimportant.
In many ways, I've chosen to be plain, almost too plain, too self-effacing. Like, if I record a vocal and I don't like the way it sounds, I would have them turn it up and take the reverb off it to make it as plain as possible.
We only see female protagonists who are likeable, with one cute flaw, such as adorable clumsiness. I'm fed up with it.
The way I work, and the material we work with, I think if you analyze too much and have too many specific ideas, it just becomes a little bit too superficial, and then performances might become too self-conscious and project relatively narrow things.
Bang bang bang. I understand now why so many horror movies use that device-the mysterious knock on the door-because it has the weight of a nightmare. You don't know what's out there, yet you know you'll open it. You'll think what I think: No one bad ever knocks.
I'd be far too self-conscious and insecure if I suspected my editor might be a better novelist than I.
When I talk about self-management, self-regulation, self-government, the word I emphasize is self, and my concern is with the reconstruction of the self. Marxists and even many, I think, overly enthusiastic anarchists have neglected that self.
I was so awkward and gangly, and went through puberty way too young - I got really self-conscious about it.
If I do too many takes, I'm too self-conscious. I think I'm better in first scenes.
I just like watching people who really are not self-conscious, who aren't aware, because I fear that one could become too self-conscious, too artful, as an actor. Sometimes if you look at somebody, you can extrapolate from their exterior what might be happening in their interior. I'm nosy.
The British who arrived in the United States in the eighteen-thirties and forties had imagined the young republic as a wide-eyed adolescent, socially ungainly and politically gauche, but with some hint of promise.
I am shy and self-conscious and awkward, so I think that's why I became a writer.
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