A Quote by G. Willow Wilson
It's very difficult to balance different audiences and talk to each one without selling the others short. There is no universal literature - or, if there is, I don't know how to write it.
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It's quite difficult to write about female friendship without it seeming to be a very niche subject. It's a difficult balance.
Business school professors don't take selling seriously because they don't know how to sell. It's easy to talk about business theory and production time and just-in-time development. Selling is much more difficult.
Good character consists of recognizing the selfishness that inheres in each of us and trying to balance it against the altruism to which we should all aspire. It is a difficult balance to strike, but no definition of goodness can be complete without it.
You don't learn how to say 'hey, I have a problem,' but you also don't learn how to hear it. There's a total breakdown of how females talk to one another. It's very disconcerting for leadership because it means you don't talk to each other; you talk about each other.
People cannot stand the saddest truth I know about the very nature of reading and writing imaginative literature, which is that poetry does not teach us how to talk to other people: it teaches us how to talk to ourselves. What I'm desperately trying to do is to get students to talk to themselves as though they are indeed themselves, and not someone else.
I have tons of stuff that, you know, seems like it's a well-constructed sentence but it is not how people talk, it's how people write. So that's why I think it's sometimes easier for me to write for actors 'cause I know what's frustrating about, you know, sentences that come out just perfect. Well, who talks like that? And who of us don't overlap each other? Except on the radio, hopefully.
I can't write about rich people having relationship problems and breaking up in New York. I don't know that world of Terrence McNally. I knew I had to write people who talk the way I talk. And they talked very different than Terrence McNally.
I think the best writers use the language they use every day when they talk to friends. When we talk to each other, we tend to talk in short grabs rather than in long flowing sentences. I think that's not a bad way to write.
If you listen to two people who are arguing about something, and they each of them have passionate faith that they're right, but they believe different things---they belong to different religions, different faiths, there is nothing they can do to settle their disagreement short of shooting each other, which is what they very often actually do.
I think of workshopping as a way to read your own work through the eyes of others - a scene that you write gets refracted by those around you, and suddenly you have several different readings of it, each with a different momentum for how it might be retooled or reshaped.
I started writing the book without realizing I was writing a book. That sounds stupid, but it's true. I'd been trying and failing to make a different manuscript work, and I thought I was just taking a break by writing some short stories. I'm not a very good short story writer - the amazing compression that is required for short stories doesn't come easily to me. But anyway, I thought I'd try to write some short stories. And a structure took shape - I stumbled upon it.
If there's one thing that I know how to do, it's talk to actors. From what I have experienced working with so many different directors in so many different things, a lot of them don't really know how to talk to us.
We will never know peace in the world without balance. And we will never know balance without justice for all. Yet, justice exists only where there is fairness and equality -- when every man and country is treated and viewed equally. My father believes that there is no such thing as justice because all his life he has witnessed the tipping of the scales. We must change this widespread mentality by making equality a reality, not just something we read and hear about on the TV and in literature.
I have a set of images that go around the world in an art gallery installation. Each of them have different audiences, and they kind of each elucidate the subject in a slightly different way, and they ping off of each other.
I don't assume, because I can write screenplays, that I know how to write a novel. It's a very different world. There's a craft involved in storytelling, and it's a different kind of craft. But yes, someday I will do that. It just might be awhile.
I want to wake up one morning and know how to write page one, or page 10, or page 250. But I never seem to know how to do it. Every book is different and takes a different structure, style, process, etc. And relearning how to write is where the insanity comes from.
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