A Quote by Susan Hill

If you were writing a short ghost story, I would say start very quietly and go, 'One, two, three jump.' Or start with a jump and make it jumpier. But with a long story, it must have rises and falls.
When I started my first film, there were three women directors in France. Their films were OK, but I was different. It's like when you start to jump and you put the pole very high - you have to jump very high. I thought, I have to use cinema as a language.
In the early days, Porter Wagoner would not exactly scold me, but he's say, 'You're writing too many damn verses. You're makin' these songs too damn long.' And I'd say, 'Yeah, but I'm tellin' a story. I have a story to tell.' And he'd say, 'Well, you're not going to get it on the radio.' If I start writing a song, I'm writing it for a reason. People would say that I had to have two verses, and a chorus, and a bridge. I tried to learn that formula.
The economy is too weak right now. We need to jump-start it. The American Jobs Act will provide that jump-start, to help us into next year and the year after that.
I taught everyone a very bad lesson at my publisher because they actually gave me deadlines this time and I'm now meeting them. I used to say, "Here's my book; it's six years late." I'm so much faster now, and work differently. With all the years of writing, I think I still draft as obsessively, but I think back to writing. On your first story, you start at draft one. On your second story, you start at draft ten. On your third story, you start at draft one hundred. If you need a hundred and eight drafts, you may write eight instead of a hundred and eight.
We started writing the shows in order, and then very quickly had to jump to, "Oh, we got Tony Hale today and Jessica [Walter." We've got to jump ahead and write that stuff that's in Jessica's show. Fortunately, we knew the story, but it was challenging.
In meditation you withdraw from others and focus your attention inside to gain purity of mind and wisdom energy. Then you must become extroverted and use this energy. When you take a long jump, you must first take some steps backward. Then you run, and make the jump. Like this, you first withdraw, observe yourself, develop clarity and unlock the wisdom. Then you make a long jump into society, to serve society. These two steps cannot be separated.
I feel with this film that as long as we tell Philomena's story and as long as we're true to her, which Jeff and Steve have already done by writing the story... we must not sell her short;. She's a most remarkable woman and all my concern was that we must be absolutely true to her story.
I don't have the story finished and ready when we start work on a film. I usually don't have the time. So the story develops when I start drawing storyboards. I never know where the story will go but I just keeping working on the film as it develops. It's a dangerous way to make an animation film and I would like it to be different, but unfortunately, that's the way I work and everyone else is kind of forced to subject themselves to it.
This is a story about a family and, as there is a ghost involved, you might cal it a ghost story. But every family is a ghost story. The dead sit at out tables long after they have gone.
I no longer believe in fad diets, crash diets... yes, I did have a jump-start because years ago I did get the liposuction and a tummy tuck, but I have to say that, if there is a poster child for plastic surgery and the jump-off to a new lifestyle, it would be me.
The last story you should write is the most important story. You should start with a story that is just an amusing, entertaining, fun story to write and learn your writing chops with the least important things before you start applying them to the most important things.
I prefer to surprise myself as I'm writing. I'm not interested in it if I already know where it's going. So I have only the most general sense of what I'm doing when I start a story. I sometimes have a destination in mind, but how the story is going to go from Point A to Point Z is something I make up as I go along.
When we were younger, my cousins used to jump in front of cars with masks on and start dancing really funny or making funny moves and the people in the cars would start laughing.
The only part of 'A Ghost Story' that was reactionary was a temporal one. I had spent so much time making 'Pete's Dragon' that I was really impatient and excited to make something new. When this project presented itself, I was ready to jump right into it. I started shooting two days after 'Pete's Dragon.'
I decided to make myself a little less precious with my storytelling. I think you can see from the first three pieces in the book that I have a long term relationship with the short story as a form and I really love an elegantly crafted story that has several elements that come together in a way that is emotionally complex and different from when we started. That kind of crystalline, perfect, idealized thing that the short story as a genre has come to represent.
When I am writing I don't set a certain number of pages. I do know that the further into a script I get the faster it goes. As soon as you start making decisions you start cutting off all of the other possibilities of things that could happen. So with every decision that you make you are removing a whole bunch of other possibilities of where that story can go or what that character can do. So when I get maybe 2/3's of the way through I can see very clearly where it is going to go.
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