A Quote by Melissa Bank

'Olive Kitteridge' is a masterpiece: The writing is so perfect you don't even notice it; the story is so vivid it's less like reading a story than experiencing it firsthand.
Olive Kitteridge' is a masterpiece: The writing is so perfect you don't even notice it; the story is so vivid it's less like reading a story than experiencing it firsthand.
You're supposed to be writing from experience - experience with people, with reading, seeing some homeless guy on the street and making up some story of him in your head. If you never see any of that or have those conversations or even sleep enough to have vivid dreams, then what are you writing about?
I feel like a lot of my work on stage, I've gotten to play a wider range of characters than I have on film. This feels closer to who I am than stuff I've played on stage, or, like, Olive Kitteridge.
It's true that writing can give new forms to concepts that existed previously with far less clarity, but in terms of the other half of a story's story - the way a story is received and interpreted and used - the audience plays a part in that too.
Two kinds of reading can be distinguished. I call them reading like a reader and reading like a writer ... when you read like a reader, you identify with the characters in the story. The story is what you learn about. When you read like a writer, you identify with the author and learn about writing.
Oh,Sara. It is like a story." "It is a story...everything is a story. You are a story-I am a story. Miss Minchin is a story.
The incredible thing happens at the beginning of the story always, you notice, not the end. A Sherlock Holmes story is never a trick story.
I think we're so often, as writers, afraid of writing something that is less than perfect, and that fear paralyzes us. I'm a big fan of writing less than perfect things.
From a really young age, I was reading like a writer. I was reading for the deep understanding of the literature; not simply to hear the story but to understand how the author got the story on the page.
The Work always leaves you with less of a story. Who would you be without your story? You never know until you inquire. There is no story that is you or that leads to you. Every story leads away from you. Turn it around; undo it. You are what exists before all stories. You are what remains when the story is understood.
When writing, I'm not thinking about war, even if I'm writing about it. I'm thinking about sentences, rhythm and story. So the focus, when I'm working, even if it's on a story that takes place at war, is not on bombs or bullets. It's on the story.
To travel only a few blocks in his own homeland, an elderly grandfather waits to beg for the whim of a teenage soldier. More than an emergency is required to get to a hospital; less than a crime earns a trip to jail. Continue reading the main story Advertisement Continue reading the main story The lucky ones have a permit to leave their squalor to work in the cities, but luck runs out when security closes all checkpoints, paralyzing an entire people. The indignities, dependence and anger are all too familiar.
You learn to do your best writing on story rather than off story. Very often at the beginning of their careers, writers including me do their best dialogue writing off story - the best lines, the best observations - but they haven't got enough to do with the plot to stay in.
Translation is harder, believe it or not. You do have to come up with a story, and actually I'm mystified by that process. I don't exactly know how the story just comes, but it does. But in writing a story that you're inventing, versus writing a story that somebody else has made up - there's a world of difference. In translation you have to get it right, you have to be precise in what you're doing.
Sometimes language gets in the way of the story's feelings. The reader finds himself experiencing the language of the story rather than the story. The words sit there on the page like coins, with their own opacity, as though they're there for their own sake. "A man goes into a phone booth, stirring coins in his palm." "Stirring" is such an obviously selected word. You can feel the writer looking for the word as he sat at the typewriter.
In 1970, at the age of 14, I entered a short story contest offering a grand prize of one dollar. I won. This was my first foray into writing fiction. I loved reading and thought that it shouldn't be so hard to write a story.
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