A Quote by Nell Freudenberger
It's usually easier for me to begin writing in a character's voice if that person is different from me in some significant way.
Related Quotes
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.
Character is character and voice is voice, which translates nicely from writing novels to writing TV. But the process is different. You have a writer's room, people pitch you jokes and you collaborate.
I am a very emotional person. I basically think and feel in emotion, so writing is much easier for me than communicating by voice or by talking to somebody just because I can really get into the emotion more succinctly with writing. So I guess that's what makes me a better writer than speaker.
Writing, for me, when I'm writing in the first-person, is like a form of acting. So as I'm writing, the character or self I'm writing about and my whole self - when I began the book - become entwined. It's soon hard to tell them apart. The voice I'm trying to explore directs my own perceptions and thoughts.
The one on Fresh Hell is a little easier, because we make it up. It's a strange kind of hybrid of the real me and... Well, obviously it's me standing there, and it's my voice and my face, but it's also kind of filtered through Harry Hannigan's take on the character, the one he's writing.
It makes it easier, if you can't do an American accent. I don't know. It's different. I played a character in Never Let Me Go where the script for my character was very sparse, and I enjoyed it. With Never Let Me Go, I had a whole book written from my character's point of view, so I always knew where I was. But, with Ryan [Gosling], it was just easy. He's such a brilliant actor and he is so prepared. He doesn't have to warm himself up to be in a scene. He's just in it. It draws you in, in a way.
It's an easier task to imagine someone's interior world when you feel quite distanced from them. In the same way that I find writing about Australia easier than writing about the UK because I don't have the reality of it in front of me to get me bogged down in trying to be exact.
I've never been a religious person. I've been a spiritual person since I was about 15, 16, when I was first introduced to Psilocybin [mushrooms]. That really opened me up to thinking about the universe in a different way, and coming to significant realizations about my connection to something greater than me.
It's much easier for me to do an impression of someone real, because you and the audience begin with a baseline understanding of this person's life. And then if you subvert that in any way, it's a little comedy surprise.
Once you have invented a character with three dimensions and a voice, you begin to realize that some of the things you'd like him to do to further your plot are things that such a person wouldn't, or couldn't, do.
There are some different things I'm writing and developing, but I don't know where they'll go. They're fun stuff that I would be in and are written in my voice, for me.
The ability to get inside your character's head in a graphic novel is really fun and useful because one, you can really define the character's voice and two, it's a way easier way to convey what the character's thinking by actually laying out what he's thinking.
For me, writing is a way of thinking. I write in a journal a lot. I'm a very impatient person, so writing and meditation allow me to slow down and watch my mind; they are containers that keep me in place, hold me still.
The way you walk, that's me The way you talk, that's me The way you got your hair up, did you forget that's me? & the voice in the speaker right now, that's me, that's me & the voice in your ear, that's me
I saw the whole universe laid out before me, a vast shining machine of indescribable beauty and complexity. Its design was too intricate for me to understand, and I knew I could never begin to grasp more than the smallest idea of its purpose. But I sensed that every part of it, from quark to quasar, was unique and - in some mysterious way - significant.
Yes, I am one of those people who feels that most of my work is adaptation of one sort or another. For me, it's a way to jump-start the engine. For example, some people use the technique of basing a character on a friend. They start writing with his or her voice, then at a certain point, the character takes off on his or her own. It probably no longer resembles the model, but it helped the author to get going. I find that's true of form, too. For every play I've written, I know what play I was trying to imitate. That helps me get going.
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