A Quote by Edith Wharton

Dialogue in fiction should be reserved for the culminating moments and regarded as the spray into which the great wave of narrative breaks in curving towards the watcher on the shore.
Movies have these transcendent moments where everything is just right, from the dialogue to the music to the lighting to the narrative context; everything is just perfect, and something magical happens - the film breaks through the screen and does something to you.
The sea-shore is a sort of neutral ground, a most advantageous point from which to contemplate the world....There is naked Nature, inhumanly sincere, wasting no thought on man, nibbling at the cliffy shore where gulls wheel amid the spray.
That's the miracle of fiction. I use it to spray on certain moments or places from my youth.
It is only in the shadows, when some fresh wave, truly original, truly creative, breaks upon the shore, that there will be a rediscovery of the West.
Quietly, like a night bird, floating, soaring, wingless. We glide from shore to shore, curving and falling but not quite touching; Earth: a distant memory seen in an instant of repose, crescent shaped, ethereal, beautiful, I wonder which part is home, but I know it doesn't matter... the bond is there in my mind and memory; Earth: a small, bubbly balloon hanging delicately in the nothingness of space.
We all have an ongoing narrative inside our heads, the narrative that is spoken aloud if a friend asks a question. That narrative feels deeply natural to me. We also hang on to scraps of dialogue. Our memories don’t usually serve us up whole scenes complete with dialogue. So I suppose I’m saying that I like to work from what a character is likely to remember, from a more interior place.
Life is the wave's deep whisper on the shore Of a great sea beyond.
No doubt there is a Scandinavian wave. I guess everybody is just surfing their wave until it breaks and hoping it won't be too soon.
I think what makes compelling fiction or cinema is when you're basically taking the most intense moments of experience and you're creating a song or a narrative out of it.
For myself, the only way I know how to make a book is to construct it like a collage: a bit of dialogue here, a scrap of narrative, an isolated description of a common object, an elaborate running metaphor which threads between the sequences and holds different narrative lines together.
The waves broke and spread their waters swiftly over the shore. One after another they massed themselves and fell; the spray tossed itself back with the energy of their fall. The waves were steeped deep-blue save for a pattern of diamond-pointed light on their backs which rippled as the backs of great horses ripple with muscles as they move. The waves fell; withdrew and fell again, like the thud of a great beast stamping.
... an ugly, lovely town ... crawling, sprawling ... by the side of a long and splendid curving shore. This sea-town was my world.
There is really no fiction or non-fiction; there is only narrative. One mode of perception has no greater claim on the truth than the other; that the distance has perhaps to do with distance - narrative distance - from the characters; it has to do with the kind of voice that is talking, but it certainly hasn't to do with the common distribution between fact and imagination.
You are always working towards the moments in which characters experience reckonings or insight or change. I like to track them past those moments.
I'd love if between 'La La Land' and 'The Greatest Showman' we generate a new wave of movie musicals because, as an art form, musical narrative is so engaging and has produced some of the most iconic moments in cinema history.
I believe a good memoir should have all of the narrative elements of a novel: character development, dialogue, descriptive language, and metaphor.
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