A Quote by Joan Lingard
I like writing about teenagers because it's a time of great change and conflict. Up to then, you accept what your parents tell you.
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Most of the time you are growing up, people tell you what's wrong with you. Your coach tells you, your parents tell you, the teachers tell you when they grade you. I think that's very good in the early stages, because it helps you then develop skills. But at some point in your career, generally I think when you are in your teens, you look in a mirror and you have to say, despite all the bumps and warts, "I like that person I'm looking at, and let's just do our best."
You're breaking up, you're getting together, you're changing your life, you're arguing with your parents, you're making terrible mistakes, you're having great triumphs. It's what happens to teenagers.
You like to explore things, and your parents don't like it because it gets the pots and pans dirty, and because it's noisy - but for you it's fun, you're resting. You're actually doing experiments... Just tell your parents that they're experiments, and you want to become a scientist, and then they won't stop you from doing anything you want.
Suppose you feel you cannot accept some fact about yourself. Then own your refusal to accept. Own the block. Embrace it fully. And watch it begin to disappear. The principal is this: Begin where you are-accept that. Then change and growth become possible.
At first I was thinking of it as superheroes who happened to be teenagers. Then I realized, no, I'm writing about teenagers who happen to be superheroes. Thinking like that changed everything for me. I started approaching the stories through the characters' core emotions, rather than leading with the superpowers.
Think of managing change as an adventure. It tests your skills and abilities. It brings forth talent that may have been dormant. Change is also a training ground for leadership. When we think of leaders, we remember times of change, innovation, and conflict. Leadership is often about shaping a new way of life. To do that, you must advance change, take risks, and accept responsibility for making change happen.
I think that a lot of teenagers think they got it all down-pat. Especially when they first move out and they're on their own for the first time. Oh this is easy, this is breezy. Then all of a sudden it hits you in your mid-twenties that maybe you don't know how to do your taxes still. There's all kinds of things and you start calling your parents up again.
I wanted to be a director first to protect my writing. I'm a playwright and you don't need to protect your writing when you're in the theater because everyone's there to protect the writing. When I had an idea for a film that I really cared about as my own, I wanted to direct it, and then I immediately became interested in directing in and of itself because it's such a deep art. You suddenly have all these tools at your disposal to tell the story.
You don't want to spend your time around people who make you hold your breath. You can't fill up when you're holding your breath. And writing is about filling up, filling up when you are empty, letting images and ideas and smells run down like water - just as writing is also about dealing with the emptiness.
Here's the truth about telling stories with your life. It's going to sound like a great idea, and you're going to get excited about it, and then when it comes time to do the work, you're not going to want to do it. It's like that with writing books, and it's like that with life. People love to have lived a great story, but few people like the work it takes to make it happen. But joy costs pain.
I like movies that deal with trapped men. Men that need to make choices that are not obvious or easy choices. Then how do you visualize this? You create this character conflicted between two sides, because drama is about the conflict of two things, between your duty and your will, between what you want and what you can't have. It is all conflict between two things, and this is why you put your character in a place where you can visualize the conflict.
The one thing that's missing from the 9/11 Memorial & Museum, and I don't imagine we'll see it any time soon, is that there's no memorial to the hundreds of thousands of Iraqis who died because of how the memory of 9/11 was used. Memory is a very interesting thing. We very selectively curate our story and then stop when it begins to tell other people's stories and forces us to accept some kind of culpability. One reason I write is that there's not enough Muslims writing, Pakistanis writing, not enough people of faith writing about the complexities of our experiences.
I spent most of my time with adults because although my parents were older when they had me, they're really like teenagers. I sort of became the third musketeer.
I kind of came from the Townes Van Zandt school of throwing yourself off a cliff and then that's what you write about, and that rule number one of creative writing is you have to have conflict. But if you write about yourself mostly, then if you don't have conflict, then you create it. And the older I get, the more I realize that that's not a very smart way to do this. Not to say I'm the most self destructive person on earth, but it's easy to do.
Most parents hate to experience conflict, are deeply troubled when it occurs, and are quite confused about how to handle it constructively. Actually, it would be a rare relationship if over a period of time one person's needs did not conflict with the other's. When any two people (or groups) coexist, conflict is bound to occur just because people are different, think differently, have different needs and wants that sometimes do not match.
We resist transition not because we can't accept the change, but because we can't accept letting go of that piece of ourselves that we have to give up when and because the situation has changed.
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