A Quote by Eli Roth
Creative writing and shooting are muscles that atrophy. But when you work them, you become a self-generator who can branch out.
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If you only exercise your soloist muscles, the other muscles quickly atrophy.
The exact process you use to build courage isn't important. What's important is that you consciously do it. Just as your muscles will atrophy if you don't regularly stress them, your courage will atrophy if you don't consistently challenge yourself to face down your fears. In the absence of this kind of conscious conditioning, you'll automatically become weak in both body and mind. If you aren't regularly exercising your courage, then you are strengthening your fear by default; there is no middle ground.
I never consciously place symbolism in my writing. That would be a self-conscious exercise and self-consciousness is defeating to any creative act. Better to get the subconscious to do the work for you, and get out of the way. The best symbolism is always unsuspected and natural. During a lifetime, one saves up information which collects itself around centers in the mind; these automatically become symbols on a subliminal level and need only be summoned in the heat of writing.
I think some people need the assurance of people around them and ideas worked out in advance. I think it keeps me an edge that to be creative on the spot. You have to think of things to do when you meet people. You limit your choices from the beginning. So I don't bring a lot of lenses, cameras, all these elements that can help the picture to a shooting. You confine yourself to, say, one room and you just make it work. You become very creative in that little space. You have left a lot of other options out of the game.
What's funny about me is that when I try and relax, and my body is in a fatigued or - you know, my muscles aren't feeling that great, I feel I only get worse. But when I go work out and do the things that are productive to helping off-set the weak muscles or hurt muscles, I feel like I can become a lot better after that.
Writing, for me, when I'm writing in the first-person, is like a form of acting. So as I'm writing, the character or self I'm writing about and my whole self - when I began the book - become entwined. It's soon hard to tell them apart. The voice I'm trying to explore directs my own perceptions and thoughts.
It's actually hard for creative people to know themselves because the creative self is more complex than the non-creative self. The things that stand out the most are the paradoxes of the creative self ... Imaginative people have messier minds.
Gravity on Earth provides a force that keeps our bones and muscles working. In the microgravity of space, our bones and muscles are not taxed, so they begin to atrophy.
Deep squats work so many muscles in your body. Once a week, I do three sets of six, or eight of the free-bar ones, which can help out your balance and work more muscles than doing them on the machine.
God loves you enough , trusts you enough, to let affliction come into your life to see whether you will exercise the muscles of faith while your physical muscles begin to atrophy.
For a while the creative writing community sort of sprung out of places like Iowa and Syracuse. The graduates sort of went out, and they would found creative writing departments in the little colleges where they went, and then some of those would found other ones. I mean every college has got a creative writing department, so where are the jobs coming from? There are not any jobs out there.
The process of writing can be a powerful tool for self-discovery. Writing demands self-knowledge; it forces the writer to become a student of human nature, to pay attention to his experience, to understand the nature of experience itself. By delving into raw experience and distilling it into a work of art, the writer is engaging in the heart and soul of philosophy - making sense out of life.
I try to tell student writers to read as much as possible, not only literature but philosophy, theory, and to form obsessions. There's a big taboo in fiction creative writing workshops against using the self at all, and I think I try to encourage students to write the self, but to connect the self to something larger, which is to be this thinking, seeing, searching, eternally curious person, and that writing can come out of investigating and trying to understand confusion, and doubts, and obsessions.
The choice that you really have is that you can go and work for TV which is so badly paid that you have to really churn them out which I think probably helps you develop certain muscles. I'm not sure though that you really want to have those muscles as a director.
My opinion of a good zombie walk is to loll your head as if it's a little too heavy and the muscles have begun to atrophy.
You have to be able to play: this is spontaneous interaction, and it flexes all the creative muscles you need as a writer. And empathy is one of those muscles.
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