A Quote by Jennifer McMahon
You can have the greatest characters in the world and write beautifully, but if nothing's happening, the story falls on its face pretty quickly.
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The love story between the hero and the heroine has to be at the center of the book. I think that's pretty true in my books. I usually write a secondary love story, with maybe nontraditional characters. Sometimes I write older characters. I'm interested in female friendships, and family relationships. So I don't write the traditional romance, where you just have the hero and the heroine's love story. I like intertwining relationships.
I'm the king of the world, I am the greatest, I'm Muhammed Ali, I shook up the world, I am the greatest, I'm king of the world, I'm pretty, I'm pretty, I'm a baaaad man, you heard me I'm a baaad man, Archie Moore fell in four, Liston wanted me more, so since he's so great, I'm a make him fall in eight, I'm a baaad man, I'm king of the world! I'm 22 years old and ain't gotta mark on my face, I'm pretty, I easily survived six rounds with that ugly bear, because I am the greatest.
Each story presents a mystery that has to be solved in the process of writing. When I'm at work on a story, I'm completely immersed in that world and in the lives of those characters; they're utterly real to me. Then, when I've completed the story, it all just falls away. The whole compulsion to understand is over.
Yeah, it's an origin story. But you very quickly get into the origin and then it's off to the races. It is an origin story, certainly, but it's not like the movie ends and somebody stretches. It happens pretty quickly and I'm not sure how much I'm allowed to say about it, but I think when people see that first hint, they'll be pretty excited about it.
I write pretty quickly. Write pretty fast. I was an old press service man. That was part of the necessity of that occupation.
Adam strokes my head, my face, he kisses my tears. We are blessed. Let them all go. The sound of a bird flying low across the garden. Then nothing. Nothing. A cloud passes. Nothing again. Light falls through the window, falls onto me, into me. Moments. All gathering towards this one.
I think I do pretty well with child characters. It's hard to write kids that are realistic, not annoying, and bring something to the story.
When you have an ensemble where characters pair off so easily, it becomes extremely isolating in the story world. You can end up with two actors who have not seen each other face to face all season long.
I write - and read - for the sake of the story... My basic test for any story is: 'Would I want to meet these characters and observe these events in real life? Is this story an experience worth living through for its own sake? Is the pleasure of contemplating these characters an end itself?
I don't really decide what the core of the story is before I write. I write to figure out what the story is. And I think the characters end up talking to you and telling you what they want to be doing and what is important to them. So in some ways, your job is to listen as much as it is to write.
At 16, 19, 20, you're just kinda going along with whatever's happening. You're not as proactive as you become when you're older. And particularly, something like fame that's happening so quickly - the requests are coming so quickly for you to do interviews or photo shoots, or you're getting work opportunities or whatever, it's happening so fast.
Respect is one of the greatest expressions of love. If other people try to write your story, it means they don't respect you. They consider that you're not a good artist who can write your own story, even though you were born to write your own story.
The story is the only thing that's important. Everything else will take care of itself. It's like what bowlers say. You hear writers talk about character or theme or mood or mode or tense or person. But bowlers say, if you make the spares, the strikes will take care of themselves. If you can tell a story, everything else becomes possible. But without story, nothing is possible, because nobody wants to hear about your sensitive characters if there's nothing happening in the story. And the same is true with mood. Story is the only thing that's important.
When we talk about safety and security of the American people, politics falls aside pretty quickly.
No matter what business you are in, there is change, and it's happening pretty quickly.
You have to do three things really well to make a successful film. You have to tell a compelling story that has a story that is unpredictable, that keeps people on the edge of their seat where they can't wait to see what happens next. You then populate that story with really memorable and appealing characters. And then, you put that story and those characters in a believable world, not realistic but believable for the story that you're telling.
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