A Quote by Rose Tremain

Learn from cinema. Be economic with descriptions. Sort out the telling detail from the lifeless one. Write dialogue that people would actually speak. — © Rose Tremain
Learn from cinema. Be economic with descriptions. Sort out the telling detail from the lifeless one. Write dialogue that people would actually speak.
I really love sort of classical cinema where people were telling stories with very little dialogue, and people were using the camera in a really interesting way.
If I had to write long-form stuff with descriptions of rooms, it would be so boring for me. I like writing dialogue and jokes and situational stuff.
For the professional writer, stories must be presented as a series of individual scenes, each one dramatized with dialogue and telling descriptions of who is present and what they're all doing.
Speak your dialogue out loud. If it sounds like the way people talk, then write it down.
And there, in that phrase, the bitterness leaks again out of my pen. What a dull lifeless quality this bitterness is. If I could I would write with love, but if I could write with love I would be another man; I would never have lost love.
People learn racism through dialogue. Somebody tells them about it. So if you can learn it through dialogue, you can also unlearn it through dialogue.
Once in a while, I have the chance to speak to students. I learn from them as much as they learn from me. It's a great dialogue to create.
What works in a story is very different than what works in cinema. For example, dialogue in books: If you translate it too faithfully, it sounds a little stilted, because we often don't speak the way we speak in novels. Oral language is much punchier, shorter sentences.
I'm a layperson. I barely got out of high school. I have no business telling people what to do or my big philosophy on life. I'm certainly not going to write any sort of memoir.
The dot stands for 'detail' - always be paying attention to detail. I feel that people take you as serious as you take yourself. I spent a lot of time working on my craft, developing my style, and after I came out of my little incubation, I promised that I would pay attention to detail.
The way you write dialogue is the same whether you're writing for movies or TV or games. We use movie scriptwriting software to write the screenplays for our games, but naturally we have things in the script that you would never have in a movie script -- different branches and optional dialogue, for example. But still, when it comes to storytelling and dialogue, they are very much the same.
Hemingway sucks. If I set out to write that way, it would have been been hollow and lifeless because it wasn't me.
Freud believed that our dreams sometimes recapitulate a speech, a comment we've heard or something that we've read. I always had compositions in my dreams. They would be a joke, a piece of a novel, a witticism or a piece of dialogue from a play, and I would dream them. I would actually express them line by line in the dream. Sometimes after waking up I would remember a snatch or two and write them down. There's something in me that just wants to create dialogue.
You can learn Elvish, if you want. It's a language like Italian and English. You can learn to read it, you can learn to write it, and you can learn to speak it.
I always shoot my movies with score as certainly part of the dialogue. Music is dialogue. People don't think about it that way, but music is actually dialogue. And sometimes music is the final, finished, additional dialogue. Music can be one of the final characters in the film.
I write and speak about personal and spiritual growth. One week I write about illness and another week I speak about relationships and another week I write about work and money and another week I speak to people with obesity issues. I write about whatever wounds seem to cry out for more enlightened solutions, and the love that heals them all.
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