A Quote by Lucia Puenzo

In general, even if I'm dealing with a historical subject, I begin with invention rather than investigation, because I need to understand what is going to be the voice or the tone of the story.
Take rather than give the tone to the company you are in. If you have parts you will show them more or less upon every subject; and if you have not, you had better talk sillily upon a subject of other people's than of your own choosing.
It's true that interacting through text means no eyelines, no facial expressions, no tone of voice. That can be an advantage, helping us to consider content rather than eloquence, import rather than source.
Even if you want to take the American story, they say we used chemical weapons the same day the team or the investigation team came to Syria ; is it logical ? It's not logical. Even if a country or army wanted to use such weapon, they should have waited a few days till the investigation finished its work. It's not logical, the whole story doesn't even hold together.
My songs were always about the tone of voice rather than the words.
In general, I think my freedom of invention is not limited when I use historical characters.
A lot of Christians have been taught a story that begins in chapter 3 of Genesis, instead of chapter 1. If your story doesn't begin in the beginning, but begins in chapter 3, then it starts with sin, and so the story becomes about dealing with the sin problem. So Jesus is seen as primarily dealing with our sins.
I start every first draft with voice rather than theme or image or even character as such, so it isn't like I'm ever rubbing my hands, cackling, "The dad is really going to take it on the chin in this one!" Not in terms of any given story, and certainly not in terms of the collection as a whole.
We have no general conceptual thrust for the band, other than trying to make music that keeps our interest. When things are novel, they are probably things we have discovered by accident or investigation rather than by design.
We have no general conceptual thrust for the band, other than trying to make music that keeps our interest. When things are novel, they are probably things we have discovered by accident or investigation rather than by design
Media gatekeepers - editors, publishers, film studios and the like - need to begin investing in talent behind the scenes, developing and resourcing marginalized voices to tell their own stories. At the end of the day, it's about the story and what will enable the audience to truly see, understand, and know the life and times of the subject.
What makes a subject difficult to understand ? if it is significant, important ? is not that some special instruction about abstruse things is necessary to understand it. Rather it is the contrast between the understanding of the subject and what most people want to see. Because of this the very things that are most obvious can become the most difficult to understand. What has to be overcome is not difficulty of the intellect but of the will.
The Clinton investigation was a completed investigation that the FBI had been deeply involved in, so I had an opportunity to understand all the facts and apply those facts against the law as I understood them. This investigation was under way - still going when I was fired. So it's nowhere near in the same place.
There are a whole lot of historical factors that have played a part in our being where we are today, and I think that to even to begin to understand our contemporary issues and contemporary problems, you have to understand a little bit about that history.
What you need to learn how to do is analyze situations and do differential diagnoses and understand the principle and the concepts rather than learn all the details, and medical school doesn't begin to do that.
This time I m not going to tell you a story. I'll just say that insanity is the inability to communicate your ideas. It's as if you were in a foreign country, able to see and understand everything that's going on around you but incapable of explaining what you need to know or of being helped, because you don't understand the language they speak there.
In 'Labor Day Hurricane, 1935,' Douglas Trevor vividly recreates a historical event. While that is the only story in A THIN TEAR IN THE FABRIC OF SPACE in the historical past, many of the other stories juxtapose fact-both historical and scientific-with narration to an engaging effect, one that distinguishes the voice of this new writer.
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