A Quote by Jojo Moyes

If I don't cry while writing a key emotional scene, my gut feeling is it's failed. — © Jojo Moyes
If I don't cry while writing a key emotional scene, my gut feeling is it's failed.
A lot of readers ask me, "Do you ever get emotional while writing the book?" or "Did you cry when you killed this character?" And the truth is, no, I didn't. That's not really the way I approach it. I don't get emotional while writing, but then there are plenty of other authors who do.
I cry whenever I watch an emotional scene that I did, just because it brings me back to that moment. It's like, I remember being there; I remember feeling what I felt. It's really weird, right?
A relationship can give you a gut wrenching feeling sometimes. It's a real emotional ride.
Managers used to say, 'I have a gut feeling.' Do you know what a gut feeling is for a professional manager? It's a pattern that they recognize. But if your system can recognize that pattern, if it's not just a couple of managers who know that pattern, then the system's gut feeling can tell you which way to go. That's really liberating.
I'm quite an emotional person. I cry a lot. I do not like conflict, so if I have an argument with my parents, I'll often cry. I become too emotional.
have a much harder time writing stories than novels. I need the expansiveness of a novel and the propulsive energy it provides. When I think about scene - and when I teach scene writing - I'm thinking about questions. What questions are raised by a scene? What questions are answered? What questions persist from scene to scene to scene?
Love starts with a gut feeling, but that gut feeling better be nourished.
It's a gut feeling. And when two people have the same gut feeling, you have a brand.
We give you this story. It is for the audience to be moved and gut wrenched, not us. It isn't as if we don't go through those real feeling and it isn't as if I don't cry three or four times a night. I usually do.
[While voicing] you have to create a feeling for what happened before a scene, what's going to happen after a scene, and what you are doing in a scene. You need to use your imagination even more and once your emotions are up, then your voice and expressions will go accordingly.
'Everwood' I think provides a unique feeling, an emotional experience. And other shows on TV don't have the acting talent to do that. Each one of our actors can do a serious scene and a humorous scene, and can do it all within the same sequence. They can go from a heartbreaking moment to a humorous moment.
I grew up with classical music when I was a ballet dancer. Now when I have to prepare an emotional scene, to cry or whatever, I listen to sonatas. Vivaldi and stuff. It's just beautiful to me.
When I'm creating a character, it's a little bit like what my theater teachers used to tell me about Stanislavsky, like if you're using sense memory to do a scene - if you have to cry in a scene, you try to remember something in your life that made you cry and you use that in order to get the tears.
The endings to me are the key moment in 'Weekend' and '45 Years.' I know how I want my gut to feel at the ending. Even if I can't articulate in words what that feeling is, I'm trying to find ways to get there.
It's not always a conscious thing - I've never been that artist to come to the recording session with a concept of an album; I am a lot more intuitive. I usually start with the music and try to catch a feeling, a gut feeling. And then you need to do interviews and explain yourself more, in words. But during the process it's really about the gut feeling, and it's hard to explain. You're trying to find those moods that make you feel something, I guess.
If you mean, "My gut feeling is telling me this; therefore I can act on it and I don't have to worry," we say you should never trust your gut.
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