A Quote by Tanikella Bharani
It is a new trend, and it is here to stay. Unfortunately, if you cannot write punch dialogues, you are not treated as a dialogue writer.
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Each piece of dialogue MUST be "something happening". . .The "amusing" for its OWN sake should above all be censored. . .The functional use of dialogue for the plot must be the first thing in the writer's mind. Where functional usefulness cannot be established, dialogue must be left out.
Games are not about being told things. If you want to tell people things, write a book or make a movie. Games are dialogues - and dialogue requires both parties to take the floor once in a while
Shatrughan Sinha's career lasted because people could imitate his dialogues. You cannot be a mass superstar if people don't imitate your dialogues.
An actor can give his best shot but the script and dialogues have to have punch to make it more effective.
I write to make peace with the things I cannot control. I write to create fabric in the world that often appears black and white. I write to meet my ghosts. I write to begin a dialogue. I write to imagine things differently and in imagining things differently perhaps the world will change.
If someone's personality is 'punch an Asian grandma,' it's not a dialogue. I have an Asian grandma. You want to punch her? There ain't no common ground, mama.
The journalism, I was a financial journalist - it's very good training as a writer. You have to write for deadlines; you have a certain economy of phrasing. As a training ground as a writer, it's fantastic. I also think it teaches you to be observant, to listen to people, and gives you an ear of dialogue from doing interviews.
I don't write shows with dialogue where actors have to memorize dialogue. I write the scenes where we know everything that's going to happen. There's an outline of about seven or eight pages, and then we improvise it.
Don't ever write just for a trend or fad, because it's a moving target, and by the time you get your work out there, the trend or fad is gone. Dig deep; don't be afraid to write fiercely. Expose your heart.
If you want to be a serious writer, then you have to write what there is to write about. If you're going to pull your punches and second-guess yourself and not do things because you're worried, then don't write. Stay home and do something else.
Some writers say they cannot write in front of a window; many say they cannot function without almost perfect quiet. A writer with only two hours a day can write in the back of an open truck on the Interstate.
Writer advice... Write. Finish things. Go for walks. Read a lot & outside your comfort zone. Stay interested. Daydream. Write.
Art is the only thing you cannot punch a button for. You must do it the old-fashioned way. Stay up and really burn the midnight oil. There are no compromises.
If you want to be a writer, write. Write and write and write. If you stop, start again. Save everything that you write. If you feel blocked, write through it until you feel your creative juices flowing again. Write. Writing is what makes a writer, nothing more and nothing less.
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.
William Maxwell's my favorite North American writer, I think. And an Irish writer who used to write for 'The New Yorker' called Maeve Brennan, and Mary Lavin, another Irish writer. There were a lot of writers that I found in 'The New Yorker' in the Fifties who wrote about the same type of material I did - about emotions and places.
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