A Quote by Xavier Dolan
I always wrote. I've written stories since I was 9. We didn't have a computer at home, but my aunt Magda had one. Whenever I'd go to her place, I was in the basement working on her computer, writing stories.
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Imagine you are writing an email. You are in front of the computer. You are operating the computer, clicking a mouse and typing on a keyboard, but the message will be sent to a human over the internet. So you are working before the computer, but with a human behind the computer.
I prefer reading novels. Short stories are too much like daggers. And now that I'm done with my collection I'm more interested in different forms of writing and other kinds of narrative art. I'm working on a screenplay. But when I was working on Eileen, I definitely felt like I was taking a piss. Like, here I am, typing on my computer, writing the "novel." It wasn't that it was insincere, but there was a kind of farcical feeling I had when I was writing.
Whatever job I had, I was always writing like crazy. All I ever liked about offices was being able to type up stories on the computer when no one was looking. I was never paying much attention in meetings because I was usually scribbling bits of my latest stories in the margins of the pad or thinking up names for my characters. This is a problem when you're supposed to be taking minutes of the meeting.
The earliest influence on me was the movies of the thirties when I was growing up. Those were stories. If you look at them now, you see the development of character and the twists of plot; but essentially they told stories. My mother didn't go to the movies because of a religious promise she made early in her life, and I used to go to movies and come home and tell her the plots of those old Warner Brothers/James Cagney movies, the old romantic love stories. Through these movies that had real characters, I absorbed drama, sense of pacing, and plot.
Woodfall wasn't deliberately telling working-class stories, but John Osborne and other writers who were involved with them were writing those stories, which had never really been written before. The working-class person always had to have an accent before, was often a joker, and peripheral. At Woodfall, they were driving the film.
When I was a kid, I would come home from school, throw my bag, go out to play. My daughter comes home from school, throws her bag, goes to play, but sitting in front of the computer because their definition of play has changed. They don't go out to play. They play on the computer with their friends.
She had sacrificed her childhood to save her brothers; she loved her family above all else, and her spirits yearned to return home once more, to the wild forest and the land of mystic tales and ancient spirits whence he had taken her. That was the place of her heart, and if he loved her, he must let her go.
Carmen sat up when she heard a familiar trill from her computer. It was an instant message from Bee. Beezy3: Packing. Do you have my purple sock with the heart on the ankle? Carmabelle: No. Like I'd wear your socks. Carmen looked from her computer screen down to her feet. To her dismay, her socks were two faintly different shades of purple. She rotated her foot to get a view of her anklebone. Carmabelle: Ahem. Might possibly have sock.
Writing short stories was kind of like I was cheating the whole time, in some way. I went back and forth between writing the novels and sort of sneaking out to work on stories occasionally. These stories were written over the last 10 years or so, as I was taking breaks from the novels I've written.
As a young woman, Ama Ata Aidoo the freedom fighter vowed never to write love stories. Let’s delight in the fact that over the years she has changed her mind about the value of writing about love, as her rich edited collection of highly original and diverse ‘African Love Stories’ demonstrates. She has traveled her path and had the courage to grow and change while retaining her deep commitment to Pan- Africanism. Love flourishes, after all is said and done.
My Ukrainian grandmother would tell amazing stories. She lost her father, and as children, we would always listen to her stories.
If you go all the way back, I've always written science-fiction, I've always written fantasy, I've always written horror stories and monster stories, right from the beginning of my career. I've always moved back and forth between the genres. I don't really recognise that there's a significant difference between them in some senses.
Whenever I work on the computer, I have folders and you know how you always give everything working titles, if you have a riff or a motif or a chord progression or a lyric written on a page, it's just a line or a word or something so I always give everything a working title when I'm making a folder.
A terrorist doesn't let strangers into her flat because they might be undercover police or intelligence agents, but her children bring their mates home and they run all over the place The terrorist doesn't know that one of these kids has bugged every room in her house, made copies of all her computer files and stolen her address book. The kid works for CHERUB CHERUB agents are aged between 10 and 17. They live in the real world, slipping under adult radar and getting information that sends criminals and terrorists to jail.
A family living at the poverty level is unlikely to be able to afford a computer at home. Even with a computer, access to the Internet is another significant expense. A child might borrow a book from a public library; but it is not possible to take a computer home.
My mum was a nurse, and her passion was geriatric care. I used to love listening to the old people's stories in her nursing home and picturing myself in their place. They'd say, 'I went to school in a horse and cart,' and I'd just think 'Wow!' I'd picture myself in their place - acting was a natural progression.
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