A Quote by Victoria Aveyard

'Glass Sword' has several set piece scenes that I plotted out or visualized before I wrote them, but I always knew they were coming. They anchor bits of the story. — © Victoria Aveyard
'Glass Sword' has several set piece scenes that I plotted out or visualized before I wrote them, but I always knew they were coming. They anchor bits of the story.
I have spent many hours on the beach collecting sea glass, and I almost always wonder, as I bend to pick up chunk of bottle green or a shard of meringue white, what the history of the glass was. Who used it? Was it a medicine bottle? A bit of a ship's lantern? Is that bubbled piece of glass with the charred bits inside it from a fire?
We had such a wonderful set of circumstances in Wilmington. Yes, the four of us became famous literally overnight, but we were in a small town and we always knew when people were coming down. We always knew when to behave.
Even before my audition, there were several pages missing from my script because those bits were so unbelievably secret not even I was allowed to see them.
With a comedian, it's the opposite. You put that album out, and they've heard it. If they're coming out to see you, you'd better be doing new stuff. There's always a tiny part of the audience that want to hear certain bits of yours, or they've brought friends to see you, and they've told them about some of your bits. Then maybe you should do them.
In a very real way, one writes a story to find out what happens in it. Before it is written it sits in the mind like a piece of overheard gossip or a bit of intriguing tattle. The story process is like taking up such a piece of gossip, hunting down the people actually involved, questioning them, finding out what really occurred, and visiting pertinent locations. As with gossip, you can't be too surprised if important things turn up that were left out of the first-heard version entirely; or if points initially made much of turn out to have been distorted, or simply not to have happened at all.
Before we started writing we did feel pressure because of the success of the first record. One of the first songs that we wrote was "Out Of My Heart" which is the first single. As soon as we wrote that, we knew we just set the standard and every other song had to be as good if not better.
I learned early on that one of the secrets to campus leadership was the simplest thing of all: speak to people coming down the sidewalk before they speak to you. I did that in college. I did it when I carried my papers. I would always look ahead and speak to the person coming toward me. If I knew them, I would call them by name, but even if I didn't I would still speak to them. Before long, I probably knew more students than anybody in the university, and they recognized me and considered me their friend.
I wrote a huge number of letters that spring: one a week to Naoko, several to Reiko, and several more to Midori. I wrote letters in the classroom, I wrote letters at my desk at home with Seagull in my lap, I wrote letters at empty tables during my breaks at the Italian restaurant. It was as if I were writing letters to hold together the pieces of my crumbling life.
In the old days when I first was coming up, you would turn up on set in the morning with your coffee, script, and hangover and you would figure out what you were going to do with the day and how you were going to play the scenes. You would rehearse and then invite the crew in to watch the actors go through the scenes. The actors would go away to makeup and costume and the director and the DP would work out how they were going to cover what the actors had just done.
With sex scenes and intense scenes, in general, a lot of it is preparation before the scenes happen, so that you don't have to worry about it on set.
Dostoyevsky wrote of the unconscious as if it were conscious; that is in reality the reason why his characters seem 'pathological', while they are only visualized more clearly than any other figures in imaginative literature... He was in the rank in which we set Dante, Shakespeare and Goethe.
The hardest bits of my book to read were the easiest bits to write because they were the most immediate. Probably because I had never stopped thinking about them on some level. Those bits I was just channelling and those were the most exciting writing days. The bits I found harder were the bits that happen in between, you know, the rest of living. There were whole years, whole houses, that I just got rid of.
I loved them all the way one loves at any age -- if it's real at all -- obsessively, painfully, with wild exultation, with guilt, with conflict; I wrote poems to and about them, I put them into novels (disguised of course); I brooded upon why they were as they were, so often maddening don't you know? I wrote them ridiculous letters. I lived with their faces. I knew their every gesture by heart. I stalked them like wild animals. I studied them as if they were maps of the world -- and in a way I suppose they were.
I wrote a few unsuccessful screenplays before I wrote 'Before the Devil Knows You're Dead.' I wrote them as television plays that never got made. I'm glad I wrote them - I think it was a good experience.
So many of the recipes that I come up with have a story. I'm a blogger. It flowed very naturally out of me, but I also knew this was a way to set my recipes apart. A, they are always using interesting ingredients but B, there is always a story behind it.
I always had a passion for writing, but I always visualized other artist singing my lyrics, I never visualized myself.
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