A Quote by Sue Monk Kidd
I have an affinity for writing in the first person. I love the intimacy of being dropped inside the character.
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As a practical matter, I like the dramatic monologue for its compelling intimacy. To be inside one's character, to register his or her every vagrant thought, emotion, and response - the first-person viewpoint grants this privilege and immediacy.
I'm very comfortable writing in the first person; it dives into the character in a way that's difficult if you're writing in the third person.
When you make music you do it for the right reason: love. Love is the desire of well being, desire to heal the wounded, the person in pain, the person who has problems - to touch the person who needs love. The love inside you manifests through sound, vibration and embraces everyone in the room.
Writing, for me, when I'm writing in the first-person, is like a form of acting. So as I'm writing, the character or self I'm writing about and my whole self - when I began the book - become entwined. It's soon hard to tell them apart. The voice I'm trying to explore directs my own perceptions and thoughts.
The way that I see third person is it's actually first person. Writing for me is all voice work. Third person narrative is just as character-driven as first person narrative for me in terms of a voice. I don't write very much in third person.
There certainly is an affinity between a person and his work, but it is not easy to define what this affinity is, and on that question many judge quite wrongly.
When you are writing, you have to love all your characters. If you're writing something from a minor character's point of view, you really need to stop and say the purpose of this character isn't to be somebody's sidekick or to come in and put the horse in the stable. The purpose of this character is you're getting a little window into that character's life and that character's day. You have to write them as if they're not a minor character, because they do have their own things going on.
Perhaps because my background is theatrical, I have a great affinity with the classics. Hamlet has always been a character of great interest to me and a character I would really love to play. Or a character in a Tennessee Williams play, maybe Tom in 'The Glass Menagerie.'
The first measn by which He draws is affinity, that affinity which brings creatures of the same species together, and like to its like. With this cord of affinity He drew men to the Godhead, Whom He always resembles. In order that God may draw more to Himself, and forget His wrath.
I write from this tight third-person viewpoint, where each chapter is seen through the eyes of one individual character. When I'm writing that character, I become that character and identify with that character.
Forget about sex. Just play first. Dance, sing, read to each other, breathe together - communicate. Don't count on sex to be the door to intimacy. It's the other way around: first develop intimacy skills. Then make love to enjoy them.
I've written short stories in first person, but you have so much more control writing in third person. Third person, you know what everybody's thinking. First person is very limiting, and I could never sustain a first person novel before.
The thing I love about Marvel in general is that they deal with people. They deal with the human being first: Who is inside the suit? Who is the person that obtained this power or this ability?
There's a theory in gameplay, particularly in first person shooters, that sometimes you don't want to have that much of a character because then it destroys the experience of the player being that character.
It is wrong to think that love comes from long companionship and persevering courtship. Love is the offspring of spiritual affinity and unless that affinity is created in a moment, it will not be created for years or even generations.
I think there's a character one has if you're a chief executive officer. Movies would suggest you're a bad person - if you're wealthy, if you've done well, oh, you must be bad. And frankly, winning the lottery doesn't change who you are; you're the same person inside. And I'm the same person I was as an 18-year-old who fell in love with Ann.
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