A Quote by Paul Di Filippo

The emotional tone or affect of the tale should be hot and engaged, not remote and dispassionate. — © Paul Di Filippo
The emotional tone or affect of the tale should be hot and engaged, not remote and dispassionate.
From a tale one expects a bit of wildness, of exaggeration and dramatic effect. The tale has no inherent concern with decorum, balance or harmony. ... A tale may not display a great deal of structural, psychological, or narrative sophistication, though it might possess all three, but it seldom takes its eye off its primary goal, the creation of a particular emotional state in its reader. Depending on the tale, that state could be wonder, amazement, shock, terror, anger, anxiety, melancholia, or the momentary frisson of horror.
I'm not a politician, but ISIS is a problem, and this matter should be solved very quickly. This will affect existing production, it will affect investment, it will affect the behaviour of people. It will affect the area tremendously.
If you're trying to convey a crucial emotional truth, you have to be in total control of the emotional pacing of the story, and if you can only strike one note in terms of tone then you're going to be quite limited as a writer.
Our limbic system sets the mind's emotional tone and stores our highly charged emotional memories.
For years I have engaged with this ecological crisis on an intellectual level, the mounting evidence, the science... but now I have engaged with the potential destruction of this world on an emotional level and there is a fundamental difference. There is huge feeling of grief, of loss.
A universe without purpose should neither depress us nor suggest that our lives are purposeless. Through an awe-inspiring cosmic history we find ourselves on this remote planet in a remote corner of the universe, endowed with intelligence and self-awareness. We should not despair, but should humbly rejoice in making the most of these gifts, and celebrate our brief moment in the sun.
The journalistic 'I' is an overreliable narrator, a functionary to whom crucial tasks of narration and argument and tone have been entrusted, an ad hoc creation, like the chorus of Greek tragedy. He is an emblematic figure, an embodiment of the idea of the dispassionate observer of life.
Music is very helpful, not just for the actors, but the whole crew and myself. It gives you the tone of the scene. Everyone is focused on the tone of the scene when we are shooting, and we are having an emotional reaction to the music immediately.
I've always been a very passionate, sometimes overly emotional person. Sometimes things affect me more than they should.
I had never engaged in remote multishrink psychoanalysis on this scale before, so it was a fascinating experience.
The artist usually sets out -- or used to -- to point a moral and adorn a tale. The tale, however, points the other way, as a rule. Two blankly opposing morals, the artist's and the tale's. Never trust the artist. Trust the tale. The proper functions of a critic is to save the tale from the artist who created it.
In order to produce learned fear, you take a neutral stimulus like a tone, and you pair it with an electrical shock. Tone, shock. Tone, shock. So the animal learns that the tone is bad news. But you can also do the opposite - shock it at other times, but never when the tone comes on.
In the past, I've visited remote places - North Korea, Ethiopia, Easter Island - partly as a way to visit remote states of mind: remote parts of myself that I wouldn't ordinarily explore.
I find it difficult to speak in remote places because it is so hot and dusty that I tend to choke.
In the past, Ive visited remote places - North Korea, Ethiopia, Easter Island - partly as a way to visit remote states of mind: remote parts of myself that I wouldnt ordinarily explore.
The guy I've got my eye on happens to be hot. Off-the-charts hot. Hotter-than-Patch hot.' She paused. 'Well maybe not that hot. Nobody's that hot.
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