A Quote by Jennifer McMahon
At the heart of every story is conflict - whether external or internal, make it a good one, and remember that this problem is going to shape your character, leaving her forever changed.
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If you have to become a filmmaker, find a story that takes you away, and tell that story. Don't think about whether it's going to sell, or whether it's going to make money, or whether it's going to appeal to distributors. Do something from the heart that really matters, and then you'll do something good.
There are two different stories in horror: internal and external. In external horror films, the evil comes from the outside, the other tribe, this thing in the darkness that we don't understand. Internal is the human heart.
The true story of every person in this world is not the story you see, the external story. The true story of each person is the journey of his or her heart.
No.” He wouldn’t lie about that. Not to her. And not because she’d rip him to pieces when she discovered the truth. “I can’t give you forever.” The nibbling increased in intensity, leaving a bead of blood in the center of her mouth. “Because we’re not a good match?” Of course she would remember every insult he’d ever thrown at her. “Yes.” “Then what can you give me?” “Here. Now.” Something his body craved more with every second that passed.
Every man lives in two realms: the internal and the external. The internal is that realm of spiritual ends expressed in art, literature, morals, and religion. The external is that complex of devices, techniques, mechanisms, and instrumentalities by means of which we live.
Internal and external obliques form your sides and waist. Your external obliques sit closest to the surface toward the front of your waist, with the internal obliques sitting deeper and closer to your back. Toning them shrinks your waistline and love handles.
I believe that there was a great age, a great epoch when man did not make war: previous to 2000 B.C. Then the self had not reallybecome aware of itself, it had not separated itself off, the spirit was not yet born, so there was no internal conflict, and hence no permanent external conflict.
Every woman whether rich or poor, married or single, has a circle of influence within which, according to her character, she is exerting a certain amount of power for good or harm. Every woman, by her virtue or her vice, by her folly or her wisdom, by her levity or her dignity, is adding something to our national elevation or degradation. A community is not likely to be overthrown where woman fulfills her mission, for by the power of her noble heart over the hearts of others, she will raise that community from its ruins and restore it again to prosperity and joy.
The problem with trying to make a film good and have it work for an audience is the problem of trying to tell a story well. The shape or the color of it doesn't matter.
Fiction shows the external effects of internal conditions. Be aware of the tension between internal and external movement.
Basically, every character I've ever played, I've based entirely on internal conflict. And I love doing that, because I think it's very human.
It's often hard to determine, especially in early drafts, whether or not a story has a bona fide complication. Remember this: A complication must either illuminate, thwart, or alter what the character wants. A good complication puts emotional pressure on a character, promoting that character not only to act, but to act with purpose.If the circumstance does none of these things, then it's not a complication at all - it's a situation. This situation, or setup, might be interesting or even astonishing, but it gives the story no point of departure.
I think it is really a personal journey of purification, rather than whether something external is going to be good or bad. Anything external will always live in that polarity - a combination of good and bad.
Don't be deceived into thinking that by changing the external, the internal will be changed. It works the other way around; the path that needs changing is the one in your mind.
I'm not a big note-taker, so I think that the way I decide is that whatever I remember I always consider something that's important. If I remember a joke then I know it's a good joke, if I remember a story then I know it's a good story, and so that's how I curate what stories I'm going to write for the book. And I go over them again, make sure there's a theme and all that stuff, but mostly, it is intuition.
When you're on the street, and, as you're walking along, a woman turns the corner going away from you, and for an instant you have a glimpse of the side of her face, of the gesture of her shoulder, the shape of her body, and you are committed... You are in love for an instant, or your senses are rocked for an instant. That person then disappears and is lost to you forever.
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