A Quote by Penelope Lively
Conventional forms of narrative allow for different points of view, but for this book I wanted a structure whereby each of the main characters contributed a distinctive version of the story.
Quote Topics
Quote Author
Related Quotes
The editor, Stephen Segal, actually called me with the idea of creating an accordion book [ "The Thorn & The Blossom"], and asked if I could write a story for it. I was so intrigued! I immediately knew that it had to be a love story told from the points of view of the two main characters. Right away, I started working on a proposal. And once I had my main characters, Brendan and Evelyn, it was as though they started telling me their stories.
Joe and I have always been drawn to ensemble storytelling. We like the idea of telling stories from multiple characters' points of view and thinking about the story from multiple characters' points of view.
I first read 'The Lord of the Rings' as an adolescent. It's a dense novel, a sprawling, complex monster of a book populated with a prolific number of characters caught up in a narrative structure that, frankly, does not lend itself to conventional storytelling.
Sometimes films ignore other points of view because it's simpler to tell the story that way, but the more genuine and sympathetic you are to different points of view and situations, the more real the story is.
'Jekyll and Hyde' I read in high school. I was expecting a Hollywood-type horror story and couldn't believe it when I got this very complex narrative from all these different points of view.
While the story about the hunt for bin Laden has been exhaustively reported and the key sources and witnesses are in agreement about the main points of the narrative, of course, it's still possible that we could learn new details about the story that would add to the narrative.
When you tell a story, there are imperatives of structure, of style, of pacing and all of this, that are there simply because you want to make it a good story. When do you introduce your characters? When do you put them onstage, when do you take them off the stage? How do you weave the different threads of the narrative together?
The world is getting smaller. And people are bumping up against people from different parts of the world with very different points of view. The challenge of our time is going to be, how do you allow other points of view to exist within what you traditionally see as your world?
We cherish the conventional story of Dr. King and nonviolence, in fact, precisely because that narrative demands so little of us…This conventional narrative is soothing, moving, and politically acceptable, and has only the disadvantage of bearing no resemblance to what actually happened.
I've been a huge fan of Hal Ashby forever. And I think that the distinctive thing about 'Coming Home' is the love story, and how - kind of emotionally real it is, and how these two characters allow each other to see their - kind of vulnerabilities. And it's great because it's a love story that's not really that cheesy, either.
One of the main reasons I wanted to work on 'World War Z' was because I'm a huge fan of the book, and I love the idea of taking a non-linear story and creating a three-act structure out of it.
I disagree that Blood Will Out is a memoir in the conventional sense. It's the story of a relationship, primarily, not an individual. The "me" in the book is a specialized version of me, the person who Clark manipulated and fooled. I could cover the same years of my life from an entirely different perspective in another book, by concentrating on my experience as a husband, say. But I was selective. I focused on my duping.
If you are making a script based on a book it can be frustrating going back to the source novel, because you're turning the story into a totally different thing; the narrative of film is different from that of a book.
I don't know quite how a story develops in my head. It is a bit chaotic. If I am working on a series, one of the main characters at least is already in existence as well as some setting and minor characters. Finding the other main character can be a challenge. Sometimes this character already exists in a minor role in another book.
It's different to read a book for pleasure than to read it analytically. In the past, I'd read Pride and Prejudice for pleasure. This time, I was really looking at the structure, the order of events, how the characters interact with each other and how the book is paced.
I wanted to write a book about poverty that wasn't only about the poor. I was looking for some sort of narrative device, a phenomenon that would allow me to draw in a lot of different players. I was like, 'Shoot, eviction does that.'
Related Authors
Brian Tracy Quotes
American
Author
Cassandra Clare Quotes
American
Author
Frederick Lenz Quotes
American
Author
Henry David Thoreau Quotes
American
Author
J. K. Rowling Quotes
English
Author
Jodi Picoult Quotes
American
Author
John Green Quotes
American
Author
Joyce Meyer Quotes
American
Author
Marianne Williamson Quotes
American
Author
Neil Gaiman Quotes
British
Author
Richelle Mead Quotes
American
Author
Rick Riordan Quotes
American
Author
Robert Kiyosaki Quotes
American
Author
Stephen King Quotes
American
Author
Terry Pratchett Quotes
English
Author
Virginia Woolf Quotes
British
Author