A Quote by Philipp Meyer
I'm interested in getting deep into a person's consciousness and doing so in ways in which the narrator is secondary to the character's own thoughts.
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When you realize that no one really knows what they are doing and that everyone is doing the best they can according to their own level of consciousness, life gets a lot easier.
Skeptical scrutiny is the means, in both science and religion, by which deep thoughts can be winnowed from deep nonsense.
In novels you're able to occupy character's internal thoughts and it's really hard to do in a film or a TV show. When you're reading a character's thoughts or when it's in first person, you're reading kind of their own story, so you have the opportunity to see what makes that character complex or complicated. And to me that's what the whole point of fiction is.
It's a challenge of to write a narrator who is doing something that is really unlikeable and morally questionable. A lot of times, you read a book because you like the character, you are cheering for the character; you want the best for the character.
Even when I'm writing in character I'm normally still writing about things I know or things that have happened to me or using that character to start an exploration of my own consciousness. Really though, any character that you can examine is just an examination of a part of your own consciousness.
The administration of government lies in getting proper men. Such men are to be got by means of the ruler's own character. That character is to be cultivated by his treading in the ways of duty. And the treading those ways of duty is to be cultivated by the cherishing of benevolence.
When you're reading, like, a character's thoughts, or when it's in first person, you're reading kind of their own story, so you have the opportunity to see what makes that character complex or complicated. And to me, that's what the whole point of fiction is.
Typically in my novels the narrator tells a story by remembering, and the memories are colored by this and colored by that. So the whole universe of the novel tends to be framed by the narrator's memories and thoughts.
Almost all of the stories in The Matchmaker, the Apprentice, and the Football Fan are told in the first person, yet, depending on the angle and distance of the narrator, they exert different effects. The best are those in which the speaker never poses as an objective outsider. (...) Other stories are damaged by the urge to distance the narrator.
Thoughts mold your features. Thoughts lift your soul heavenward or drag you toward hell. … As nothing reveals character like the company we like and keep, so nothing foretells futurity like the thoughts over which we brood. … To have the approval of your conscience when you are alone with your thoughts is like being in the company of true and loving friends. To merit your own self-respect gives strength to character. Conscience is the link that binds your soul to the spirit of God.
Deep Listening is listening in every possible way to everything possible to hear no matter what you are doing. Such intense listening includes the sounds of daily life, of nature, or one's own thoughts as well as musical sounds. Deep Listening represents a heightened state of awareness and connects to all that there is. As a composer I make my music through Deep Listening
The desire to transcend one's own ego boundaries, to share completely, even for a moment, the consciousness of another person must be a universal longing. It motivates many of our activities from taking drugs to making love, and lies behind the search for new ways of getting close to one another that is so intense in our society today.
I want to read about a character doing something fairly quiet where I can picture who the character is, and what their attitude towards the world is - which I'm a lot more interested in than what they do under the pressure of a gunfight.
There's different ways of getting into character. There's what's called 'the outside,' in which is finding the physicality of the character first. To give an example, in 'Gettin' Square' - Johnny Spitieri - that's how I found that character. I knew those people that I'd seen up at Kings Cross. I knew how they sounded.
Magicians are manipulating your consciousness. They are showing you something impossible. They're getting you to construct a narrative, which simply isn't true. So that means they know how to make you aware of certain things and blind to other things. What I'm hoping is that magic, this entertainment vehicle that has been around for a long time, will give us a real insight into the deep mysteries of consciousness
I'm always interested in the ways in which a character can inhabit either a theme or a premise personally, so that those scenes that are about his character or his relationship with other characters feel in context and don't seem to be apart from or oddly vestigial to the actual drama.
I understand the law through the operation of which my own character is developed from my own acts and thoughts; therefore, I will guard with care all that goes into its development.
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