A Quote by Sarah Addison Allen
I think my characters are more wish fulfillments than they are mirrors. They see things I don't and live in a world I can only enter through words.
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On the stage, the characters express themselves more through words than images. So the arguments of the characters and the tension between characters - words have to be used to express that, and I love that about theater.
The primary reason people watch television is you want to see the world through somebody else's eyes, and learn what that's like. You can only live one life, and so you get to see other lives through these characters.
I used to live in a room full of mirrors; all I could see was me. I take my spirit and I crash my mirrors, now the whole world is here for me to see.
I'm just trying to write a good story, strictly from imagination. People just think it's random, they don't see the rewriting, phrasing of characters, choosing the words, bringing the world to light in which the characters live in. That creates an illusion that this is real.
Only one same reason is shared by all of us: we wish to create worlds as real as, but other than the world that is. Or was. This is why we cannot plan. We know a world is an organism, not a machine. We also know that a genuinely created world must be independent of its creator; a planned world (a world that fully reveals its planning) is a dead world. It is only when our characters and events begin to disobey us that they begin to live.
I try to write about real women, real people - in other words flawed characters. I find flawed characters much more interesting than perfect ones and enjoy the challenge of making readers root for them in spite of their unsympathetic path and destructive choices. Life is about the gray areas. Things are seldom black and white, even when we wish they were and think they should be, and I like exploring this nuanced terrain.
In fiction, it's as if you enter a dream world that you created, but your characters have their own free will. They don't do what you want them to do - they get into trouble, do drugs, fight over petty things, and do outrageous things that you wouldn't want your children to do. In other words, you can only provide the background, the seeds - in my case the background of the Vietnamese refugee.
Writing a story requires you to understand how the world works, how characters think, how their emotions drive them to do surprising things, and so on. In other words, as a writer, you have to be more than a stylist. You need to learn to become a master of storytelling.
The world that I should wish to see would be one freed from the virulence of group hostilities and capable of realizing that happiness for all is to be derived rather from co-operation than from strife. I should wish to see a world in which education aimed at mental freedom rather than imprisoning the minds of the young in rigid armor of dogma calculated to protect them through life against the shafts of impartial evidence.
I think that I write much more naturally about characters in solitude than characters interacting with others. My natural inclination - and one that I've learned to push against - is to give primacy to a character's interior world. Over the three books that I've written, I've had to teach myself that not every feeling needs to be described and that often the most impactful writing more elegantly evokes those unnamed feelings through the way characters speak and behave.
The more we try to live in the world of words, the more we feel isolated and alone, the more all the joy and liveliness of things is exchanged for mere certainty and security. On the other hand, the more we are forced to admit that we actually live in the real world, the more we feel ignorant, uncertain, and insecure about everything.
I love writing about men. To get by in the world you have to know how men think. Not that all guys think alike, but women tend to think about more things at the same time, an overgeneralization, but I find it easier to make my male characters focus than I do my female characters.
How my eyes see, perspective, is my key to enter into His gates. I can only do so with thanksgiving. If my inner eye has God seeping up through all things, then can't I give thanks for anything? And if I can give thanks for the good things, the hard things, the absolute everything, I can enter the gates to glory. Living in His presence is fullness of joy- and seeing shows the way in.
I wish we didn't live in a world where buying and selling things seems to have become almost more important than either producing or using them.
Words are intermediary between thought and things. We express ourselves really not through words, which are only signs, but through what they signify - through things.
I was a very emotional teenager. But I wish that I could tell myself that I matter more than I think. Things are a bigger deal than I think they are, but they're also not as big a deal as I think they are. My mistakes are not the end of the world.
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