A Quote by Sue Monk Kidd
'The Secret Life of Bees' was my first novel, so I had no process. I was flying by the seat of my pants, as they say, trying to understand how I, as a novelist, would work with story.
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Flying by the seat of your pants precedes crashing by the seat of your pants.
I would say as a journalist, I would envision travelling to other countries that have had to reckon with their past and see how they've done it: what worked, what didn't work, finding characters that would tell the story of how that process was done.
Being on 'The Following' is constantly flying by the seat of my pants. The story can change and the character can change at a moment's notice.
I had wanted to be a novelist for so long, but I didn't have a story. That story came from the death of my father, and wrestling with how to help my mother. Writing it allowed me to work through my fears, frustrations and desires. I wanted control over the situation. And I wasn't sure I would have any in real life.
I guess I would say that most of what I've learned about storytelling derives from novels and short stories. I cannot think of a novel or story, or a novelist or story writer, who thinks in terms of three-act structure.
The Secret Life of Bees proves that a family can be found where you least expect it-maybe not under your own roof, but in that magical place where you find love. The Secret Life of Bees is a gift, filled with hope!
There's a thrill in flying by the seat of your pants - trousers, actually: 'pants' in English means underwear - because most shows don't operate that way. Network shows are repetitive.
"Just try and remember," I said slowly," that if God had intended men to fly He'd have given us wings. So all flying is flying in the face of nature. It's unnatural, wicked and stuffed with risks all the time. The secret to flying is learning to minimize the risks." "Or perhaps - the secret of life is to choose your risks?"
I always think first about the nature of the story. When I had the idea for 'The Namesake,' I felt that it had to be a novel - it couldn't work as a story.
I love flying by the seat of my pants, going at something instinctually.
But when I say it isn't meant for anyone's eyes, I don't mean it in the sense of one of those novel manuscripts people keep in a drawer, insisting they don't care if anyone else ever reads it or not.The people I have known who do that, I am convinced, have no faith in themselves as writers and know, deep down, that the novel is flawed, that they don't know how to tell the story, or they don't understand what the story is, or they haven't really got a story to tell. The manuscript in the drawer is the story.
I'm flying by the seat of my pants, never creating with a thought to what's up ahead!
I always write on unlined typing paper and write the first draft in longhand, using cheap Bic pens. I try to write about four pages a day, which usually yields a first draft in six months. I don't plot ahead of time, so I'm flying by the seat of my pants for the first draft.
Being a novelist and being a mother have exactly coincided in my life: the call from my agent saying that I had a contract for my first novel - that was on my answering phone message when I got back from the hospital with my first child.
I had been a reporter for 15 years when I set out to write my first novel. I knew how to research an article or profile a subject - skills that I assumed would be useless when it came to fiction. It was from my imagination that the characters in my story would emerge.
I would say I'm a storyteller first, but game making is very wrapped up in how I think of story. If I were to have a story idea, and I decided to write a novel with it instead, I'd have to very consciously de-couple it from gamedom - for example, deliberately add in things that could not be represented in a game scene.
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