A Quote by Michael Morpurgo

I become my characters, and then try to allow events in the story to take their own course. I try not to play God, but to let them work out their own destiny. — © Michael Morpurgo
I become my characters, and then try to allow events in the story to take their own course. I try not to play God, but to let them work out their own destiny.
I feel like if you aren't honest and if you don't let go and ease up off of the narrator, then the story doesn't take up a life of its own, and the characters can't take up a life of their own. You handicap the story when you try to protect your characters.
Gary Ross one of those directors which lets you do what you need to do to become your character - he lets you try to do everything on your own when you're acting. Then at some points he would say, "Let's try this," or "Let's try that." Most of the time he just kind of let me try to just become my character on my own and it worked out really well.
There's a certain amount of pressure that goes with writing superhero characters, especially characters that are beloved to audiences. You know that you're always writing into a certain amount of expectations and into an existing fandom, and I try to take the pressure of that in when I first accept a project and then I try to push it aside as much as possible and just focus on the story that I want to tell. It's definitely a little more pressure than writing something of your own, from your own brain, and creating those expectations from scratch. But I also like the challenge of it.
My style of writing is to allow the story to unfold on its own. I try not to structure my work too rigidly.
This, then, is my choice: I can allow the events of my life to happen to me. Or I can take those very same actions and make them my own. I can live in my own present, risk failure, be assured of failure.
Every people should be the originators of their own destiny, the projectors of their own schemes, and creators of the events that lead to their destiny -- the consummation of their own desires.
With my guys and with the way that we live out there, we work out a lot and try to eat right, but we try to basically keep it our own rhythm and our own world.
I want an actor to try to give me what I ask in the best and most exact way possible. He mustn't try to find out more, because then there's the danger that he'll become his own director.
I'll take a certain concern of my own or a situation and try to frame it around a fictional story, but sometimes just straight-up autobiographical songs work well, and sometimes a story is better. I like stories. I like to hear them. I don't think there are enough of them in songs anymore.
You have to take control of your own life, your own destiny, and your own careers. You can't leave everything up to someone else, 'cause then you can look at them and blame them.
I had not yet learned that we make our own destiny, it springs from within us. It is not the outward events but what we allow ourselves to make of them that count.
If I am practicing spiritual poverty, which says that I own nothing, then the problems aren't mine and neither are the energy and compassion pouring through my heart to try to solve them. I am just a link in the process. If I don't take anything personally, then I can do great work without flagging. The Dalai Lama once said, 'Try with all your might - to work very, very hard - to make the world a better place, and if all your efforts are to no avail . . . no hard feelings!'
I write - and read - for the sake of the story... My basic test for any story is: 'Would I want to meet these characters and observe these events in real life? Is this story an experience worth living through for its own sake? Is the pleasure of contemplating these characters an end itself?
A short story is confined to one mood, to which everything in the story pertains. Characters, setting, time, events, are all subject to the mood. And you can try more ephemeral, more fleeting things in a story - you can work more by suggestion - than in a novel. Less is resolved, more is suggested, perhaps.
Try to get your characters into interesting trouble. Allow your characters to misbehave. Let them stay out after 11.
In these negotiations we are not a helpless object, although great world powers are involved. We play an active role and try to influence our destiny; we have our own trump cards and we use them.
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