A Quote by Wally Lamb

Dialogue comes naturally to me and I can hear the characters' voices in the scenes. — © Wally Lamb
Dialogue comes naturally to me and I can hear the characters' voices in the scenes.
I don't want to say I hear voices; well, actually I do hear voices, but I don't think it's supernatural. I think it's just that when characters are given enough texture and backbone, then lo and behold, they stand on their own.
It's dialogue that gives your cast their voices, and is crucial in defining their characters.
When you write for a show that's not yours, your job is to hear the voices of the characters and write as best you can for those voices.
What I like and find liberating in dialogue comedy is that the characters, and what they say, are not me. These are fleeting thoughts and observations and not presented as truths but as something that illuminates the character and the dynamic between the characters. This kind of dialogue is thesis and antithesis - and we never get to a synthesis.
Movement should be a counter, whether in action scenes or dialogue or whatever. It counters where your eye is going. This style thing, for me it's all fitted to the action, to the script, to the characters.
Dialogue saves me. I love writing the conversations between my paper people. For some reason, that is the easiest thing for me. It's like I am a transcriptionist for the voices in my head. I can hear them talking (mentally) and have a gift for getting it on the page.
I'm not one of those authors who claims to hear voices in my head or 'let the characters speak through me,' whatever that might mean.
Im not one of those authors who claims to hear voices in my head or let the characters speak through me, whatever that might mean.
All of the disparate books on my list contain characters, scenes or voices that linger long past the last page of their stories.
I like writing dialogue - I can hear my characters so clearly that writing dialogue often feels as much like transcribing something as it does like creating it.
There aren't any real dumb people in my voices. It's always irritated me about Hollywood dialogue - there's so much dialogue that would just bore a Ford mechanic. This is not how people talk.
When people ask me about my dialogue, I say, 'Don't you hear people talking?' That's all I do. I hear a certain type of individual, I decide this is what he should be, whatever it is, and then I hear him. Well, I don't hear anybody that I can't make talk.
Reading is a creative activity. You have to visualize the characters, you have to hear what the voices sound like.
For a director, the most challenging scenes are the dialogue scenes.
The parallels between a stage and a book are compelling. You, like all authors, create 'characters' in a 'setting' who speak 'dialogue' encased in 'scenes.' Most importantly, you - like the playwright - have an 'audience.'
I think right now is when we need to hear different voices coming out of all parts of the world. You can't just hear the politicians and the military leaders. You have to hear from the taxi drivers. You have to hear from the painters. You have to hear from the poets. You have to hear from the school teachers and the filmmakers and musicians.
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