A Quote by Allan Stratton
I like writing teen characters because they’re vulnerable to the newness of things; and vulnerability makes emotional responses raw, vital and unguarded. Lacking a context of consequences, choices are riskier and stakes higher. Life is lived without a safety net. As an author and reader, I find that a mighty charge to drama.
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SAFETY NET-ISM: The belief that there will always be a financial and emotional safety net to buffer life's hurts. Usually parents.
Medicaid is a vital safety net for New York's poor and vulnerable, young and old alike.
Life is precious. Not because it is unchangeable, like a diamond, but because it is vulnerable, like a little bird. To love life means to love its vulnerability, asking for care, attention, guidance, and support. Life and death are connected by vulnerability. The newborn child and the dying elder both remind us of the preciousness of our lives. Let's not forget the preciousness and vulnerability of life during the times we are powerful, successful, and popular.
Writing is transmogrifying, not just for the reader but also for the author; an author becomes someone he or she isn't by living the lives of his or her characters.
I like to play very raw characters, characters who have a degree of vulnerability and passion about what they're doing.
I have lived under the threat of death for a year now. And because of that, I have made choices. Listen to me. I alone should suffer the consequences of those choices, no one else. And those consequences, they're coming. No more prolonging the inevitable.
You imagine a reader and try to keep the reader interested. That's storytelling. You also hope to reward the reader with a sense of a completed design, that somebody is in charge, and that while life is pointless, the book isn't pointless. The author knows where he is going. That's form.
If you're writing a thriller, mystery, Western or adventure-driven book, you'd better keep things moving rapidly for the reader. Quick pacing is vital in certain genres. It hooks readers, creates tension, deepens the drama, and speeds things along.
I love telling teen stories where the characters are experiencing things for the first time - the stakes feel really high.
You never want to be in a position where your reader feels like you're passing judgment on your own characters. Any novel where you feel like the author is talking to the reader over the characters' heads is in a bad place.
The state of interbeing is a vulnerable state. It is the vulnerability of the naive altruist, of the trusting lover, of the unguarded sharer. To enter it, one must leave behind the seeming shelter of a control-based life, protected by walls of cynicism, judgment, and blame.
Writing fiction lets you be a little more emotional and unguarded, a little freer. Writing fictional characters is also really different from writing about real people. In nonfiction, you can only say so much about the people you interact with. After all, they're actual people, their version of their story trumps yours. In a novel, you can build a character, using certain parts or impressions of someone you know, and guessing or inventing others, without having to worry that your guesses or memories or inventions are wrong.
When writers are self-conscious about themselves as writers they often keep a great distance from their characters, sounding as if they were writing encyclopedia entries instead of stories. Their hesitancy about physical and psychological intimacy can be a barrier to vital fiction. Conversely, a narration that makes readers hear the characters' heavy breathing and smell their emotional anguish diminishes distance. Readers feel so close to the characters that, for those magical moments, they become those characters.
Socrates famously said that the unconsidered life is not worth living. He meant that a life lived without forethought or principle is a life so vulnerable to chance, and so dependent on the choices and actions of others, that it is of little real value to the person living it. He further meant that a life well lived is one which has goals, and integrity, which is chosen and directed by the one who lives it, to the fullest extent possible to a human agent caught in the webs of society and history.
I think that I am interested in the resonance between character drama and high stakes, either situational or political or social or other kind of elevated drama, and I tend to find that those things combust.
One of the things I particularly enjoyed doing was taking raw sound from locations during the film, like the candy machine, and writing pieces of music to go with them, which is totally unnecessary within the context of the film, because they have their own logic.
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