A Quote by Chris Claremont

The key thing if you're a writer is to visualize the scene and convey it to the penciller and turn the penciller loose. — © Chris Claremont
The key thing if you're a writer is to visualize the scene and convey it to the penciller and turn the penciller loose.
Since I began writing my new 'Bad Company' story, anyone who's connected with '2000 AD' has probably heard the sad news of the death of Brett Ewins, penciller and vital component of the original 'Bad Company' team.
As a model you have to convey something with one look - and actors will have a scene and they can sort of do it, but models have to convey what photographers want. It's a bit of an art.
I visualize songs like a little movie scene and I try to almost talk through the scene. What emotions am I trying to get across?
I don't think that any scene [in Pineapple Express] is word for word how you'd find it in the script. Some of it was much more loose than others. The last scene with me, Danny [McBride] and James [Franko] in the diner - there was never even a script for that scene. Usually we write something, but for that scene we literally wrote nothing.
With voice over work, you need to convey as much emotion as you can without making any physical movements, so it's hard. You've got to visualize everything.
Dayodhuam: I have heard the key Turn in the door once and turn once only We think of the key, each in his prison Thinking of the key, each confirms a prison.
I would visualize things coming to me. It would just make me feel better. Visualization works if you work hard. That's the thing. You can't just visualize and go eat a sandwich.
There is a reason there is no such thing as a folk writer. But to be a writer you have learn what it takes to captivate a reader in order to make them turn the page. And in order to learn that, you have to read.
Inexperienced personal development teachers always tell you to visualize, but often in a tragically limited way. They tell you to visualize nothing but victory. But high-achievers know that it's even more important to visualize themselves at the point where they want to quit, and then see themselves working through the struggle.
In each scene, the writer sets up a situation, which brings a conflict as well as either a small victory or a loss at the close of that particular scene.
Once you have found the right shot to introduce the scene-written your first declarative sentence-then the rest flows. You've found the key to the whole scene.
It's a writer's or director's role to be cerebral, whereas for an actor it should be a visceral, gut thing. When the action starts, it's best to turn the brain off and let it become an instinctual thing.
Be able to describe anything visual, such as a street scene, in words that convey your meaning.
Let the human mind loose. It must be loose. It will be loose. Superstition and dogmatism cannot confine it.
When I write, I never think of segments as chapters; I think of them as scenes. I always visualize them in my mind. Then I try to get the scene down on paper as closely as I can. That's the one thing that readers don't see - what you have in your mind. The reader can only see what you get on the page.
If actors are trying to convey, in a smart way, the context of the scene, that becomes too self-conscious.
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