A Quote by Jack Falahee
A thing I do with all my characters is I break them down into one of three things: mind, heart, and groin. I figure out where they come from and what they utilize most.
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Who on earth is going to use 'utilize' in a text message, a whopping seven characters including the always-hard-to-type 'z,' when you can say the exact same thing in three characters? I can't think of a sentence in which 'use' can't replace 'utilize.'
You can think as Einstein as much as you want, but when you come in contact with another person as a work unit of some kind, you have to think as one. You have to figure out all the things that you've studied and that your mind is telling you, and then you have to figure out how to make it work as one, or you have a broken down team.
I didn't think I was in a morbid mood, but it appears I am. My mind goes round and round trying to figure things out, but I always come back to the same two things: Loneliness and Death. Life ends before we figure anything out, most importantly how not to be lonely. Solitude is fine. But feeling like you have no one to love - abject lonliness - is not alright.
The thing I found in correlation with my studies as a history major was that experience taught me you have to figure out your background, where you come from, who you are, and what you want. All of that propelled me into following acting because I had to develop characters as well as develop characters' history which is most important.
Writers write because they cannot allow the characters that inhabit them to suffocate them. These characters want to get out, to breathe fresh air and partake of the wine of friendship; were they to remain locked in, they would forcibly break down the walls. It is they who force the writer to tell their stories.
One of the things that's funniest about the entertainment industry and comedy is that people go 'Oh, you're great, but I don't know what to do with you.' The great thing about the Internet is that nobody has to figure out what to do with you. You can figure out what to do with you, and you can say, 'I made this thing, and I'm going to put it out, and now if people want to come see me and buy things from me they can.'
There are three fundamental poses of the human figure. One is standing. The other is seated, and the third is lying down... Of the three poses, the reclining figure gives the most freedom, compositionally and spatially.
The two mistakes that come to mind are people who introduce a flood of characters in the first few pages. Where the reader has to stop and get out a flow chart and has to figure out who is who. And you just can't do that - introduce the first four generations of a character's family in the first chapter. You can introduce four or five characters at the most in the first chapter. Another mistake is to use big words that are not normally used in conversation to try to impress folks with your vocabulary.
Out of the corner of his eye, he saw Tyson pounding the Earthborn into the ground like a game of whack-a-mole. Ella was fluttering above him, dodging missiles and calling out advice: "The groin. The Earthborn's groin is sensitive." SMASH! "Good. Yes. Tyson found its groin.
Ranger removed my goggles "Would you like to come home with me?" I stepped away from him. "Thank you for the offer, but no. I'm done with men." Ranger smiled. "Forever?" "Until I figure some things out." "And if you don't figure them out?" "If I can't figure them out on my own, I'll ask you to help me." "Babe, that's like the blind leading the blind.
Well, I started out down a dirty road Started out all alone And the sun went down as I crossed the hill And the town lit up, the world got still I'm learning to fly but I ain't got wings Coming down is the hardest thing Well, the good ol' days may not return And the rocks might melt and the sea may burn I'm learning to fly but I ain't got wings Coming down is the hardest thing Well, some say life will beat you down Break your heart, steal your crown So I've started out for God knows where I guess I'll know when I get there I'm learning to fly around the clouds But what goes up must come down
To the young mind every thing is individual, stands by itself. By and by, it finds how to join two things and see in them one nature; then three, then three thousand; and so, tyrannized over by its own unifying instinct, it goes on tying things together, diminishing anomalies, discovering roots running under ground whereby contrary and remote things cohere and flower out from one stem.
If there's a world here in a hundred years, it's going to be saved by tens of millions of little things. The powers-that-be can break up any big thing they want. They can corrupt it or co-opt it from the inside, or they can attack it from the outside. But what are they going to do about 10 million little things? They break up two of them, and three more like them spring up!
If I wasn't going through a thing where I was also being my characters offstage, uh, I'm much happier just wearing the most low-profile things that I can come up with just so I can get down the street.
There are three things, after all, that a poem must reach: the eye, the ear, and what we may call the heart or the mind. It is the most important of all to reach the heart of the reader.
I have to be smarter than my opponents. I have to figure out their styles in the ring. I have to be three or four steps ahead of them. So my mind has to be sharp.
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