A Quote by Mark Ravenhill

Even within single sentences, there are sudden changes of register. And when the travellers go to Venice, they see a play by Voltaire! This is a novel [Candid] which has narratives within narratives, such as when Cunégonde recounts her story.
I have not chosen to create a linear story, but a series of different narratives: in the end there are five plays that almost, but don't quite, add up to one play... I start with the story of Candide, being performed as a play within a play, to bring the audience up to speed with the story.
'Pierrot le Fou' is something I keep coming back to. It's so surreal but still really engaging - it proves narratives within narratives are a landscape that can be pursued well.
Pierrot le Fou is something I keep coming back to. Its so surreal but still really engaging - it proves narratives within narratives are a landscape that can be pursued well.
Voltaire's novel [Candid] offers us parallel universes, the possibility of entering into alternative worlds existing side by side, and this is something quite modern. Nested narratives and parallel universes are popular at the moment in many different art forms.
In a general sense, to convert any short story, novel, play, or opera into a movie, you have to re-rig it. Even though they're all narratives over time, they're very different forms.
Generally, I start by observing the existing and popular narratives in my social spheres and media, and the pressures I face in my own life experiences. As someone who is "newly" trans, I am constantly thinking about what the dominant narratives are around transness, how my work can push against these narratives, and how it already falls into these traps.
Within neoliberal narratives, the message is clear: Buy/ sell/ or be punished.
Often I think changes within my work have been seen as sudden changes or sharp changes, but for me they're not that sudden. They have been there in the studio, but not so much in public.
I'm often associated with parallel narratives or dual narratives. The 'Devil in the White City' was a fluke.
Adults need more complex narratives. They have their own narratives. The main characters are themselves.
The media doesn't create narratives, really. They're not that powerful. What they do is they tap into narratives that are already bubbling amongst their viewership or readership.
The script for what would eventually become my first graphic novel, 'Cairo,' sort of came to me in kind of a bolt of lightning within 24 hours of having moved to that city. Just a jumble of characters and narratives and interesting things that I was seeing and experiencing for the first time.
Within neoliberal narratives, youth are mostly defined as a consumer market, a drain on the economy, or stand for trouble.
I love creating individual short stories within chapters, but I want to get better at building consistent narratives from start to finish.
It is however, difficult to make your narratives relative by yourself. A novelists' work is to provide models to make your narratives relative. If you read my novels then you may feel, "I have the same experience as this narrative", or "I have the same idea as this novel". It means that your narrative and mine sympathize, concord and resonate together.
My role in the government was not to think about narratives and consistency with narratives, but think of the human consequences of rules.
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