A Quote by Lucy Jane Bledsoe
About writing I learned that always, always, always it's necessary to haunt your settings. I'm a big researcher. All my fiction is based on tons of digging. But the vital importance of actually traveling to the settings of a novel really hit me. And it's not just the setting details, not just the visuals and other sensory data, that will pop. You'll find surprising clues that swerve your story in whole new, deeper, surprising, more organic ways.
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I think writers like to see how people bring their words to life, and it's always surprising. Always, no matter what, whether it's good or bad, it's always surprising because a whole human being is coming to that piece of writing.
I think scrin writers like to see how people bring their words to life, and it's always surprising. Always, no matter what, whether it's good or bad, it's always surprising because a whole human being is coming to that piece of writing. And certainly there's inspiration that comes out of that.
... negative feelings are not true feelings at all; rather, they are your thoughts about something, based always on the previous experience of yourself and others. You will not find Truth in your past data, only past data that is based on other past data that is based on other past data, and so forth. Forget your "past experience" and look directly at the experience you are having. Right Here, Right Now. There is your Truth.
You always have to write script with a budget in mind. Although it's always good to write the big story, you really have to think about how things are going to work as far as cast, effects and settings. It's a process. You have to always think budget and then execute and make it happen.
Some of the pictures in 'The Human Face of Big Data' will bring tears to your eyes; others are so surprising or memorable that you just have to show them to your friends and family.
My preference will always be theatre because it's where my heart lies and it's what I started with and eventually I want to direct it. It's where my real interest is. But I just love trying out new stuff. Acting for me isn't just for me about being in front of a camera ... it's so much more than that. It's always about telling a story and there are so many ways of doing that, so I'll always want to try something else.
When I was younger, I was always described as happy-go-lucky. Then I drank and I partied - did all that stuff that might tell you maybe there was a little bit of untruth in that [description]. Now, the surprising thing is that when I say stuff, I actually mean it. I don't have to do the work of trying to formulate my point of view. It just is. And it's surprising how much I love life. I just really have a good time.
I think that simply nudging yourself into unfamiliar settings - physical or emotional - can produce surprising results on the writing front.
People will ask me, "How do you approach writing books for young readers differently than for adults?" My answer is always: I don't change anything about the story itself. I'm going to tell kids the way things really were. What I don't do - and this is the only thing I do differently in writing for kids - is that I don't revel in the gory details. I allow readers to fill in the details as necessary. But I don’t force kids to have to digest something they’re not mature enough or ready for yet. If they are, they can fill in the details even better than I could, just with their imaginations.
Throughout my career I've struggled to encourage people to read my books on a more metaphorical level. I'm less attached to my settings than, for example, Saul Bellow. The setting of a novel for me is just a part of the technique. I choose it at the end.
As long as you have ideas, you can keep going. That's why writing fiction is so much fun: because you're moving people about, and making settings for them to move in, so there's always something there to keep working on.
My being Indian is possibly the biggest thing that influences my stories. Not just in terms of settings - most of the settings in my stories are Indian - but also in terms of characters and plot. I think growing up in India grew my imagination in certain ways that would not have happened in any other place. I'm also fascinated by the idea of India, and writing stories allows me to explore this. As for thematic elements, they are probably pretty obvious in my stories. I also hope that my stories bust stereotypes at least to a modest extent.
I feel like you become a songwriter when you claim that it's sort of like a switch flipped, and you're always writing. Even in your sleep, you're always thinking about it in the back of your mind. The true writing - when you're officially writing - that's just when its front of mind, but its always there. You're always listening for a hook.
That's what has always been so surprising for The Seekers - when you think they try to create pop stars in a contrived, manufactured way and we were just four people who just happened to meet and sing together.
I pay attention to what's going on around me. I'm always looking for new energy, new talent, new voices. When you do that I think it's easier to come up with fresh ideas. It's not that my career has been based on surprising people, but it's been about challenging myself - to constantly do new things that are going to broaden my own mind and in the process, hopefully, connect with other people.
My general approach to writing fiction is that you try to have as few conceptual notions as possible and you just respond to the energy that the story is making rather than having a big over plan. I think if you have a big over plan, the danger is that you might just take your plan and then you bore everybody. I always joke that it's like going on a date with index cards. You know, at 7:30 p.m. I should ask about her mother. You keep all the control to yourself but you are kind of insulting to the other person.
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