A Quote by Jane Goldman
If you're writing a novel, you can afford to see where the spirit takes you, but in terms of structure and engineering with a screenplay, you have to be quite pragmatic; otherwise, it will run away from you.
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I have run engineering since day one at Oracle, and I still run engineering. I hold meetings every week with the database team, the middle ware team, the applications team. I run engineering and I will do that until the board throws me out of there.
I found the structure of writing a screenplay harder than the structure of writing an essay. But it was definitely challenging to force myself to sit and write. I'm not used to having to force myself to work.
A novel is utterly your own creation, a very private process. I think of a novel as a noun and a screenplay as a verb. In a novel, very little needs to happen; you can explore a person's memories and thoughts and fantasies. In a screenplay, it's all action; you must push the story on.
A screenplay is not a finished product; a novel is. A screenplay is a blueprint for something - for a building that will most likely never be built.
Well, I kind of approach both of them similarly in (that) I always see it as a movie first because that's my background. Cindy Kelley, who has been my writing partner on my novels, she works more on the prose side and the description side of the storytelling because, obviously, there's a lot more of that in a novel than in a screenplay. You only have up to 120 pages in a screenplay.
I've been asked which of the other arts novel-writing is most like, and I have come to believe it is acting. Of course, in terms of pattern it can be like music, in terms of structure it can be like painting, but the job to me is most like acting.
It takes me two to three years to write a novel. A screenplay is 100 pages and takes five years.
In 'Dear Father,' you will see some remarkable work in terms of the screenplay.
In some ways, a novel isn't as structurally rigorous as a screenplay or a TV show, which have finite real estate. In a novel, you can more deeply illuminate a character's interior and get away with digressions.
When I write a novel, I want it to be completely different from a screenplay. I'm very conscious of the difference, and I want novels to work purely as novels. Otherwise I don't see how they'll survive - why don't we just all go to the movies or watch television.
One of the things about writing a novel is you can do it any way you want. It's your voice that's important and I see absolutely no reason why a screenplay can't be the same. It makes it a hell of a lot easier when you're the writer and the director.
I don't like to think in terms of writing ten or twelve pages a day. Usually I'm writing a scene, and it's always with the idea, "I wonder what is going to happen." Or sometimes I write about something that affected me emotionally the day before and that I don't want to lose. I'm very unorganized at first; but finally it comes into a structure where consciously I'm working on a novel per se.
You're trying to create a screenplay and your screenplay is there to give you a structure, rigidity, situational awareness, who the characters are, what do they want, what's the shape of the thing.
Writing is a particular kind of frustration, which is why when I was making the structure for the novel I visualized it for myself with a color-coded board so I could see it.
The deep learning techniques, while relatively easy to learn, are quite foreign to traditional engineering modalities. It takes a different mindset and a relaxation of the presumption of control. The practitioners are like magi, sequestered from the rest of a typical engineering process.
Writing a novel, in an unplanned and unpredictable way, makes you engaged; it takes you into yourself, and it becomes something between you and the character for a moment, and then you move back into the structure of the book. I love those moments, because they are completely unbidden.
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