A Quote by Dave Barry
I can't recall a story that played out exactly as I'd expected it to. That's one of the thrills of journalism - being surprised, and learning new stuff, but it also poses the biggest challenge to a writer's character.
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Most people would say safety was my best position. To me, the biggest challenge and most gratifying thing I got out of playing football was playing corner, because it was a bigger challenge than playing safety. Playing corner provided me my biggest thrills and my biggest headaches.
The biggest challenge [for movie Agnus dei] - working in a foreign country with a predominantly Polish cast and crew - also proved to be the biggest blessing. Being surrounded by all this change , [both] culturally [and] linguistically, was a new and refreshing inspiration.
The biggest challenge was the whole learning curve of being solo artist. I've been in bands for so long that being a solo artist was completely new thing.
I like learning new stuff, also, and I can sit there and watch shows on National Geographic and the Discovery Channel or stuff like that and learn something new. I think once you've gone through such a long stage of learning one thing, you're not as well-rounded as you'd like to be.
I've got a New Zealand film coming out here called Out of the Blue. It's a very heavy story, and it's the first time I've played a character who is alive.
As a writer, that moment every few years when I buy a new laptop and find out that all the word processing stuff has slightly changed again (stuff I spend every working day using) is like getting into bed at night and finding some mad robot where you expected your wife to be.
Producing is figuring out how to make each character have a distinct voice, how to make the story twist and turn - that's the biggest challenge.
The challenge in fiction is to write a terrific story. The challenge in journalism is to communicate solid, objective information. The challenge in creative non-fiction is to do it both and to do it well.
As your life continually poses new questions, it also poses new answers - which cause expansion. As your life presents new problems, it also presents new solutions - which cause expansion - and All-That-Is benefits from your willingness to live and consider and explore ... and expand.
One of the biggest, and possibly the biggest, obstacle to becoming a writer... is learning to live with the fact that the wonderful story in your head is infinitely better, truer, more moving, more fascinating, more perceptive, than anything you're going to manage to get down on paper.
Learning something new is a fabulous way to be refreshed. When work can grind you down, something about learning a new activity thrills the soul. It reminds you that the world is bigger than your desk and your to-do list.
I think the biggest advice I can offer is don't just pick one story and stop, write as much as you can, as many stories as you can. The best thing about being a writer is, a writer's craft is nearly perfect because a writer can go anywhere and do his craft.
Every patient tends to bury the most important story inside some other story, just the way new writers often 'bury the lede.' 'Burying the lede' is an old journalism term for when you only find out the real point about halfway into the article, but it also applies to therapy.
You have to look for story. That's obvious. If that's not on the page, you can forget it. But I also read whatever character I'm being offered. And if you can cut them out without it affecting the story, then I say no straight away.
On a more technical level, a story takes a lot of words. And to generate words and phrases and images and so on, that will compel the reader to continue reading - that stand a chance of really grabbing a reader - the writer has to work out of a place of, let's say, familiarity and affection. The matrix of the story has to be made out of stuff the writer really knows about and likes. The writer can't be stretching and (purely) inventing all the time. Well, I can't, anyway.
This is the story, this is your character, I have the sense of the landscape, I have the sense of the scene, I have all that stuff. But I'm also looking for something else to happen, an accident or something. You're focused on the story you intend to tell and then you have to have a peripheral net out to catch these accidents.
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