A Quote by Michael Pollan
I try to write in the first person - the first person not of a journalist but of a carnivore, an eater, a gardener, someone trying to figure out what to feed his family.
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Jesus was a storyteller with amazing messages wrapped around them. What we want to do is get back to that. I'm not a preacher. I'm not the person on Sunday. I am the person that is trying to figure out life and wants to be pushed to be a better person. The first one that we're in production with right now is called Nouvelle Vie.
With repeated listenings, a piece eventually becomes its own being. I very often say to students that this is like meeting a person for the first time. When you first meet someone, you reference that person with others who are similar; but, as you get to know that person better, you begin to understand his unique qualities.
I've written short stories in first person, but you have so much more control writing in third person. Third person, you know what everybody's thinking. First person is very limiting, and I could never sustain a first person novel before.
I think everyone needs to try their first script, and usually the first one isn't as good. You learn so much as you're trying to figure it out.
The way that I see third person is it's actually first person. Writing for me is all voice work. Third person narrative is just as character-driven as first person narrative for me in terms of a voice. I don't write very much in third person.
I think first-person narrators should be complex, because otherwise the first-person is too shallow and predictable. I like a first-person narrator who can't totally be trusted.
I'm a serious eater and a seriously hungry person, so I set out on that path to figure it out for myself, and of course it really resonated with other people.
A gardener who cultivates his own garden with his own hands, unites in his own person the three different characters, of landlord, farmer, and labourer. His produce, therefore, should pay him the rent of the first, the profit of the second, and the wages of the third.
We've noted that the Clinton camp was the first to get it out there, trying to say there was something untoward about the speech Melania Trump gave. It's just another example, as far as we're concerned, that when Hillary Clinton is threatened by a female, the first thing she does is try to destroy the person.
If I write a character, instead of looking from the outside, like maybe a journalist would, trying to describe them physically and figuring out what kind of things they might be interested in or have in their house, I don't really do it that way. I try to feel what it would be like to be inside this person, to be them.
I write poetry to figure things out. It's what I use as a navigating tool in my life, so when there's something that I just can't understand, I have to "poem" my way through it. For that reason I write a lot about family, because my family confuses me and I'm always trying to figure them out. I write a lot about love, because love is continually confusing in all of its many glorious aspects.
The family is the most basic unit of government. As the first community to which a person is attached and the first authority under which a person learns to live, the family establishes society's most basic values.
For every gardener there is a minimum level of engagement that is needed to sustain and develop the relationship. There is no magic figure to this and it will vary from person to person and season to season, but it is there.
When you're the most successful person in your family, in your neighborhood, and in your town, everybody thinks you're the First National Bank, and you have to figure out for yourself where those boundaries are.
It's amazing what you find out about yourself when you write in the first person about someone very different from you.
The two mistakes that come to mind are people who introduce a flood of characters in the first few pages. Where the reader has to stop and get out a flow chart and has to figure out who is who. And you just can't do that - introduce the first four generations of a character's family in the first chapter. You can introduce four or five characters at the most in the first chapter. Another mistake is to use big words that are not normally used in conversation to try to impress folks with your vocabulary.
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