A Quote by Ol Parker
I just did what any writer does, tried to listen to the characters, whether they're 18 or 80.
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One question you ask as a writer or any kind of artist when you start making something is, 'Does this have reason to exist in the world?' And you're reassured when you get little confirmations that people are pleased it did exist - whether they buy a ticket, whether it gets good reviews, whether it transfers.
My idea of teaching literature is just to read great passages aloud or to look at it the way a writer does, which is what I try to do. Which is to say, 'How does this writer do this? How did he order his scenes? Do you notice any pattern to his sentences?'
A writer is a performer as well. A writer isn't the literary department. That gets tried on but nothing's a script unless a good writer goes away and does his thing alone.
Any adjective you put before the noun 'writer' is going to be limiting in some way. Whether it's feminist writer, Jewish writer, Russian writer, or whatever.
I definitely did not play myself. As the writer of the script, I have traits of all the characters. I can relate to all of the characters.
I have tried to create main characters who are drastically different from the types who generally appear in crime novels. Mikael Blomkvist, for instance, doesn't have ulcers or booze problems or an anxiety complex. He doesn't listen to operas, nor does he have an oddball hobby such as making model airplanes.
In every soap, at the end of the season, relationships end and people leave the show. You look at characters and evaluate whether they're great characters or not, and whether they have a future in the show. And we did all of that.
When it comes to writing characters, whether men or women, I think a good writer writes good characters. I know many men who, for years, have written strong, progressive women characters.
The truth is, everything ultimately comes down to the relationship between the reader and the writer and the characters. Does or does not a character address moral being in a universal and important way? If it does, then it's literature.
When a young writer deliberately tries to create an effect, the result is often a little self-conscious and overdone. But why is it so hard for us to glory in what the writer has tried to do, or even in the very fact that the writer has deliberately tried to do something?
A writer does not own words any more than a painter owns colors. So lets dispense with this originality fetish… Look, listen and transcribe and forget about being original.
If you're a fiction writer, though, I can tell you how to let people talk through you. Listen. Just be quiet, and listen. Let the character talk. Don't censor, don't control. Listen, and write.
I don't like when people relying on me in any kind of business way. I'm just a writer. I'm just noodling around and trying to come up with great characters and fun ideas.
At night, when the objective world has slunk back into its cavern and left dreamers to their own, there come inspirations and capabilities impossible at any less magical and quiet hour. No one knows whether or not he is a writer unless he has tried writing at night.
The characters created cannot just be a mouthpiece for the writer. When you look at a piece of writing, and it's genuine and it doesn't feel like every character is just a mouthpiece for the writer, but that they've been created in such a way that they're expressing an idea that a writer wants to get across, that's when a story succeeds.
I've just tried to keep my eyes open, tried to read everything you can, and tried to see whether I see myself within it. If I do, then I can get excited about it.
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