A Quote by Leslie Jamison
It's one of the most liberating things I experience in writing - letting yourself get rid of a gesture or character or plot point that always nagged, even if you couldn't admit to yourself that it did.
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What you do for yourself, any gesture of kindness, any gesture of gentleness, any gesture of honesty and clear seeing toward yourself, will affect how you experience your world. In fact, it will transform how you experience the world. What you do for yourself, you’re doing for others, and what you do for others, you’re doing for yourself.
Get rid of the idea that God wants you to sacrifice yourself for others, and that you can secure his favor by doing so; God requires nothing of the kind from you. What He wants is that you should make the most of yourself, for yourself, and for others; and you can help others more by making the most of yourself than in any other way.
In my theater days I assumed that you had to get rid of yourself to do a character well, and I don’t think I was a very good actor when I did that.
You're writing for some version of yourself. You're writing the kinds of things that you like to read or wanted to read at a certain point. So, primarily for most of my career, I've written the kind of criticism that fascinates me. The things I discovered the things that get me going, that I'm excited about.
When you get a role, you completely lose yourself in it. That's one of the great things about acting - letting yourself go.
If you want the great and mighty things God has for you, you must get to the root of anger and deal with it. Get rid of the masks and face the things that happened in your life that made you the way you are today. Admit that you can't change by yourself. Until the root is removed, it'll continue to produce one bad fruit after another.
You're always trying to find common ground with whatever you do, but you want to not be thinking about yourself when you're performing a play. The job is getting yourself out of the way and letting the character go about the scenes.
You have to go through a point where you actually hate yourself because when you come to this point of hating yourself so much and break into pieces, you can put yourself back together in the most beautiful way possible.
If you stop trying to restrict yourself by defining yourself and love in other people's terms, it's the most liberating thing.
The writer must always leave room for the characters to grow and change. If you move your characters from plot point to plot point, like painting by the numbers, they often remain stick figures. They will never take on a life of their own. The most exciting thing is when you find a character doing something surprising or unplanned. Like a character saying to me: ‘Hey, Richard, you may think I work for you, but I don’t. I’m my own person.’
What are you going to do? Admit to yourself that the pitchers have you on the point of surrender? You can't do that. You must make yourself think that the pitchers are just as good as they always have been or just as bad.
This is a marathon in life. You can't be sprinting all the time or else you wear yourself out. You have to make sure you're taking care of yourself, keeping yourself grounded and not letting every little thing get you worked up.
As the writer, you're always a presence in the song. If you get close to what human beings are like, you're writing about common experience. We all do much the same things, so if you nail somebody, then you've also nailed yourself.
There are always going to be things you don’t like about yourself or reasons to compare yourself to others, but once you realize that you only get one you, it’s best to just love yourself.
I don't know if you're ever prepared for public scrutiny. I don't know if you can even mentally prepare yourself for it. But it is part of the job. It's maybe not the most pleasant part but I get to experience so many other things that I shouldn't be able to experience. So, that's the trade-off.
Chris Claremont once said of Alan Moore, "if he could plot, we'd all have to get together and kill him." Which utterly misses the most compelling part of Alan's writing, the way he develops and expresses ideas and character. Plot does not define story. Plot is the framework within which ideas are explored and personalities and relationships are unfolded.
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