A Quote by Zoe Quinn
I think as an author every character ends up low-key being some kind of self-insert.
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After a while, being so honest and so vulnerable on the page ends up affecting my own kind of self possession in the world, because I am not afraid of myself and my own thoughts. I think so much of being a woman, of being a social being, of being polite, is quieting those thoughts. There's so much we try not to say as we go through the day. There's a lot of tempering and self-editing. It is a relief to make writing that space where I don't need to do that.
The key to praying with power is to become the kind of persons who do not use God for our ends but are utterly devoted to being used for His ends.
I can't not have something attached to like what actually happens in real life. Like I can't do a romantic comedy without there being something where like, in the case of Annie Hathaway's character, her character ends up having Parkinson's, you know? To me, I feel like that's love, you know? Like to me. So every movie has to have that kind of sense of that.
The Kevin Abstract project kind of represents being socially awkward in high school, which I'm low-key kind of tired of.
Do not be someone looking for [insert]. Be [insert] looking for someone. Suggestions for [insert]: —love —friendship —understanding —appreciation —tolerance —a helping hand —a leg up —an answer
I think in space or music or art or literature of any kind there has to be some kind of void where the viewer or the spectator or the listener or the reader can insert themselves into it, and there is a certain kind of architectural space which is totalitarian, which does not allow you to do that.
I choose to work with every single person that I work with. That ends up being the most important factor. I don't interact with people I don't like or admire. That's the key. It's like marrying.
All you need is a [insert plant], some [insert stick / rock / animal feces], and a good multitool.
Because every book of art, be it a poem or a cupola, is understandably a self-portrait of its author, we won't strain ourselves too hard trying to distinguish between the author's persona and the poem's lyrical hero. As a rule, such distinctions are quite meaningless, if only because a lyrical hero is invariably an author's self-projection.
Everyone seems to be searching and yearning for answers whatever they may be. And that ends up being some kind of spiritual or religious belief.
If you're writing a scene for a character with whom you disagree in every way, you still need to show how that character is absolutely justified in his or her own mind, or the scene will come across as being about the author's views rather than about the character's.
I think it would be self-indulgent to go, "Oh, I'm going to make this character different by giving him a quirk of some kind." I don't think that serves the story, particularly. But even very similar scenes with a different set of actors, a different set of circumstances, it starts to evolve as a different character.
What I like doing is being a different person. Every character is kind of different. So being able to be that person and then when you leave you're yourself again. So it's kind of weird to be like two different people, and I think that's kind of fun.
I think everybody goes through that, especially... being in love for the first time. Some people, they're lucky enough that that ends up being who they're with for the rest of their lives, and sometimes it doesn't work out.
The way I grew up, I had a lot of personal issues with art. It's an individual thing, but I also think it's kind of Midwestern: You do your thing, but you don't talk about it. You make sure it's not such a big deal, and keep it very low-key.
When I was finally allowed to watch horror in my early teens I think I overdid it, I actually ended up generating some kind of low grade PTSD, I was paranoid and scared of our house being broken into. It actually took me a long time to get over that.
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