A Quote by Laurie Foos
I feel that if I establish the world or the premise from the first line, then I can get the reader to come with me where I want her to go.
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If you want the reader to accept the premise as a given, then being specific is vital. This is what I'm after; I want the reader to accept the setting and the mindset of the characters, so we can get on with the story.
On the third Friday of each month, I go to the Andy Griffith Museum. I get to meet hundreds of fans who stand in long lines for hours to meet me. Some months I don't feel too good and I think maybe I won't go, but then when I go and get to be there with so many wonderful people it always lifts my spirits and makes me feel better. I wouldn't stand in line for hours to meet me, but I'm so glad my fans do.
I'm the first one in line to go watch "Spider-Man," but there's definitely something in me that makes me want to go to a movie and see something that makes me feel good about life.
I'm the first one in line to go watch 'Spider-Man', but there's definitely something in me that makes me want to go to a movie and see something that makes me feel good about life.
My wife is my first reader, my first line of defence I suppose. So she says, "Oh well, oh yes, it's all true." At the same time, I could have written much more about us, but I didn't want to go any further. I did cut things out. There are certain things that I wrote about her that are so gushing with praise and admiration that when I looked at those passages I realised they would be ridiculous to anybody else.
She would try to relieve the pain of love by first roughly rubbing her dry lips against mine; then my darling would draw away with a nervous toss of her hair, and then again come darkly near and let me feed on her open mouth, while with a generosity that was ready to offer her everything, my heart, my throat, my entrails, I gave her to hold in her awkward first the scepter of my passion.
Typically, when you're with your friends, premises are coming up left and right. But when you're on stage, you must create the premise. So you have to create the premise, paint the picture and then deliver the punch line.
There are all sorts of theories and ideas about what constitutes a good opening line. It's tricky thing, and tough to talk about because I don't think conceptually while I work on a first draft -- I just write. To get scientific about it is a little like trying to catch moonbeams in a jar. But there's one thing I'm sure about. An opening line should invite the reader to begin the story. It should say: Listen. Come in here. You want to know about this.
For me, it's important to get back to fundamentally what it feels like to be an American. We all come from different backgrounds, but we come together and create this world. It's like a microcosm for the rest of the world. I want people to feel unity when they come to a show.
The first job of a storyteller is to make the reader feel the story, to get the reader to live in the skin of the character.
Poems, for me, begin as a social engagement. I want to establish a kind of sociability or even hospitality at the beginning of a poem. The title and the first few lines are a kind of welcome mat where I am inviting the reader inside.
Aesthetics - rather than reason - shapes our thought processes. First comes aesthetics, then logic. 'Thinking in Numbers' is not about an attempt to impress the reader but to include the reader, draw the reader in, by explaining my experiences - the beauty I feel in a prime number, for example.
If the world had two gods, it would surely go to ruin-this is the first premise. Now it is known that it has not gone to ruin-this is the second premise. From these premises the conclusion must of necessity follow, that is, the denial of two gods.
For those who have come here illegally, they might have a transition time to allow them to set their affairs in order. And then go back home and get in line with everybody else. And if they get in line and they apply to become a citizen and get a green card, they will be treated like everybody else.
The first rule is you have to create a reality that makes the reader want to come back and see what happens next. The way I tried to do it, I'd create characters that the reader could instantly recognize, and hopefully bond with, and put them through situations that keep the reader on the edge of their seat.
To me, one of the greatest triumphs in doing a book is to tell the story as simply as possible. My aim is to imply rather than to overstate. Whenever the reader participates with his own interpretation, I feel that the book is much more successful. I write with the premise that less is more. Writing is not difficult to me. I read into a tape recorder, constantly dropping a word here and there from my manuscript until I get a minimum amount of words to say exactly what I want to say. Each time I drop a word or two, it brings me a sense of victory!
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