A Quote by Mara Brock Akil
I often attribute my screenwriting to journalism because they drill in the who, what, when, where and why - but we really need to land on that why. That's what I've been exploring in my writing for many years and trying to get better at.
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In a sense, journalism can be both helpful and detrimental to a writer of fiction because the kind of writing you need to do as a journalist is so different. It has to be clear, unambiguous, concise, and as a writer often you are trying to do things that are more ambiguous. I find that writing fiction is often an antidote to reading and writing too much journalism.
This crazy little party girl who loves to enjoy life actually has a purpose. So, that's really the core of why I've survived so many years and I can go and I can fall down and I can get back up. Why? Because I know why I'm here. That's the question that a lot of people need to answer when they do fall is, 'Why am I here?' If you can answer that question, you'll be able to dust yourself off and shine like a phoenix out of ashes.
It's very important for an audience to know where they are and why they are there in a musical. It allows them to relax and follow this form that operates in shorthand. So the economy of the form, in many respects, is why a lot of screenwriting is so sleek. Because the visuals are where the explosions happen.
I'm always trying to find that role that will allow me to stretch and play a lot of different sides, but it's hard. To be frank, as an actor, I read maybe a hundred scripts a year and I really strongly respond to probably two, but every other actor in town responds to those two scripts, as well. It's hard to land those roles that are really good because they're coveted. That's why I try to create for myself, and that's why I've been doing things outside of acting, like writing and producing. I try to not have to depend on other people so much.
All writing is discipline, but screenwriting is a drill sergeant.
I understand why society, especially American society, is gravitating toward fairy tales, given our economy. We've been exploring the world of witches and wizards for years. We've been exploring the world of vampires for years. Clearly the public - I mean, I feel like all of this was ushered in by 'Harry Potter' - in my own fannish beliefs.
There's no really other way to learn writing than by writing. So accelerate that as much as you can. The more you write, the better you'll get. What also helps, though, is walking away from broken stuff. Not everything's going to work. Killing two years of your life trying to resuscitate a dying novel, I don't know. Why not just write a different one? You'll have more ideas. You can't help having ideas.
What are they teaching these thugs? -Why are there so many of them? -What is the Institute for Higher Aeronautics? -How many of the are there? There are only six of us! Why? -Why is DC public transportation so weird? -Why don't we mug those Eraser goons for money more often? -Fang's Blog
When I look at my earlier work, I often wonder why I acted like that, why I wore that dress, why I said that dialogue... Why couldn't I do it better? I realized I was too young then and not confident.
I have been asked so many times why I live a green life, why water conservation, why getting wells in places, why work with water organizations, why conserve water at home with double-flush toilets, why I tell my daughters, "Turn off the tap" so much. Sometimes I want to say, "I wish I knew the answer." My answer really is: I don't understand why everyone doesn't feel this way.
Writing for the theatre is so different to writing for anything else. Because what you write is eventually going to be spoken. That's why I think so many really powerful novelists can't write a play - because they don't understand that it's spoken - that it hits the air. They don't get that.
I need an army. I need people out there who are either preaching with me to different audiences that I can't get to or who are implementing the work and helping people actually learn their why or practice their why or implement their why because I don't do that.
I was never drawn just into fashion. I was drawn into it because I am really interested in serving women and providing women with solutions, trying to figure out what we need and why we need that and why we wear stuff, how it makes us feel. That was always my starting point, you know.
Anyone who does investigative journalism is not in it for the money. Investigative journalism by nature is the most work intensive kind of journalism you can take on. That's why you see less and less investigative journalism at newspapers and magazines. No matter what you're paid for it, you put in so many man-hours it's one of the least lucrative aspects of journalism you can take on.
The oil companies are regulated by the federal government. They can't drill on land nor in American waters without permission from the feds. Many Republicans want to drill baby drill but what's the point if all the oil goes to China? Increased production obviously doesn't mean lower prices for us.
When I decided to write about my brother and friends, I was attempting to answer the question why. Why did they all die like that? Why so many of them? Why so close together? Why were they all so young? Why, especially, in the kinds of places where we are from? Why would they all die back to back to back to back? I feel like I was writing my way towards an answer in the memoir.
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