A Quote by George Monbiot
A central task for any campaign is to develop a narrative: a short, simple story explaining where we are, how we got here and where we need to go.
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Approach each task in your life, no matter how simple or how complex, with power. Pick and choose things initially which are not impossible to succeed at. You need to develop the profile of a winner.
The short story is at an advantage over the novel, and can claim its nearer kinship to poetry, because it must be more concentrated, can be more visionary, and is not weighed down (as the novel is bound to be) by facts, explanation, or analysis. I do not mean to say that the short story is by any means exempt from the laws of narrative: it must observe them, but on its own terms.
With my students, I don't offer any simple tips like that, maybe because my own process is pretty messy, but when we workshop we talk a lot about the deeper subject, which is what the story or novel is about. I think defining a narrative's themes can lay bare a narrative's tensions.
It doesn't need to be deep and it doesn't need to be a 65-point plan, but just to give some concrete examples of how this economy is going to work for the people that feel right now it's not working for them, and then finally to get to central tension of this campaign. This is a presidential campaign where you have Americans now who want to see change. And Hillary Clinton is the status quo. How can she be both status quo and change?
The task is not primarily to have a story, but to penetrate the story, to discard the elements of it that are merely shell, or husk, that give apparent form to the story, but actually obscure the essence. In other words, the problem is to transcend the givens of a narrative.
Every artist has a central story to tell, and the difficulty, the impossible task, is trying to present that story in pictures
I looked pretty crazy but at the time, you don't think anything of it. You think, "I've got an amazing job. I'm working and this is cool." I remember I was being fit to go to a premiere for something at Burberry and Christopher Bailey, who designs the clothes there, saw a picture of me and I looked weird. I had short black hair, hardly any eyebrows, I looked very very thin and he went, "We need to put Douglas in a campaign." So four days later, I was shooting a Burberry campaign because he had seen me looking crazy from the show so that was kind of funny.
In order for a narrative to work, the primary character should have a concrete desire - a need that drives her story - and the story's writer should make this goal known to the reader pretty early in the narrative.
For me, the main inspiration to write a story or novel is the voice of its central character, or the narrative voice of the story itself.
But I am not sure it would contain any short stories. For the short story is a minor art, and it must content itself with moving, exciting and amusing the reader. ...I do not think that there is any (short story) that will give the reader that thrill, that rapture, that fruitful energy which great art can produce.
I can't understand these chaps who go round American universities explaining how they write poems: It's like going round explaining how you sleep with your wife.
You run the risk, whenever you build your story around a central mystery, of either letting it go too long, or revealing it too soon and then taking the wind out of the sails of the narrative.
A short story is "a short prose narrative, requiring from a half hour, to one or two hours in its perusal...having conceived, with deliberate care, a certain unique or single effect to be wrought out.
I believe that we are a story-driven species and that we understand how things are put together, in the context of narrative. It's a shame that science hasn't been taught that way, in a long time. It's usually the fact completely devoid of any human experience or any idea of how the scientist came to that conclusion.
I never even considered writing a career option. I just liked the play of words. I was certainly interested in story, but the stories I was telling then were in narrative verse and prose poems, short and succinct, except for one novel-length poem written in narrative couplets.
Within a scantily plotted, novella-style narrative (the movie is an adaptation of a short story by Tom Bissell), single shots become story events that mere mention would spoil.
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