A Quote by Natasha Rothwell

When you're a writer, there is a selflessness that has to happen; you have to have equity with how you treat each of the characters and the information you bring into the room.
The thing with videogame characters is that they tend to be really undercooked, and people don't take the time to really flesh them out. They don't treat them with the respect that a writer writing characters in any other medium would treat their character.
Because of the routines we follow, we often forget that life is an ongoing adventure. . . Life is pure adventure, and the sooner we realize that, the quicker we will be able to treat life as art: to bring all our energies to each encounter, to remain flexible enough to notice and admit when what we expected to happen did not happen. We need to remember that we are created creative and can invent new scenarios as frequently as they are needed.
We know how to treat depression, we know how to treat mental illness, and we have not had the political will in our country to make it happen.
Our practice should be based on the ideal of selflessness. Selflessness is very difficult to understand. If you try to be selfless, that is already a selfish idea. Selflessness will be there when you do not try anything.
I learned to write from reading. I had no writing classes. It's part of my thinking as the writer-author, reading, but then I also want to bring this into my characters, who also read and think. There's that great quote from Virginia Woolf - it's very simple: "...books continue each other." I think when you're a writer, you're also, hopefully, a reader, and you're bringing those earlier works into your work.
I've always felt that I'm affected by the world, by the way we treat each other, by the way different countries treat each other. I've always been very affected by politics, society, but I never got to a place as a writer where I felt like I could begin to deal with such things and do it well.
Various things have to happen in Baltimore that are not just related to police reform. How police deal with the public is one variant, but we also have to deal with how we treat each other. We need to look at taking more responsibility for ourselves.
If you saw me working with construction crews or graphic designers, you'd see how much I'm really hoping for them to bring something to the table and let God in the room and let things happen naturally.
I think it all comes down to relationships - how I treat my wife, how I treat my kids, how I treat the guys at the grocery store, all aspects of every day, what I'm involved in.
The players, when we get in the locker room, we talk about what's going on. And the players always see how the management or how ownership treat other players, treat other players around.
I just think there's always room for humanity in acting, one can only hope, so when you bring in the whole life of a person that's playing a character, then surprises happen and are allowed to happen, and so it makes it more interesting.
Many writers struggle with exposition in their novels. Often they heap it on in large chunks of straight narrative. Back story โ€“ what happens before the novel opens โ€“ is especially troublesome. How can we give the essentials and avoid a mere information drop? Use dialogue. First, create a tension-filled scene, usually between two characters. Get them arguing, confronting each other. Then you can have the information appear in the natural course of things.
I know the relationships, and I already know my characters and how I'm going to reveal my characters to my readers - how I'm going to feed them information about that character. That stuff doesn't have to be in my outline.
Comedy can be, especially in a writer's room, really aggressive, kind of a very male-dominated room, and it would be hard for women. It's not a nurturing place. It's not like a lot of women are going to say, I can't wait to live that lifestyle and be in a writer's room until 2 or 3 a.m.
How they loved each other, these three, how they had suffered for each another, and yet how much joy they clearly took from simply being in the same room.
I've had people who see all my characters as Native, even if they aren't. It's kind of like assuming all a writer's characters are really female because the writer is a woman. I've learned to let that go.
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