A Quote by Eli Roth
I have so many different projects, I hear voices in my head - the characters talking all at once - and I have to write to make them stop.
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My first two books, I was very close to my main character, stuck inside their head. And then with 'Arrogance,' I broke into many different voices. I introduce many different characters, and that helped me to develop a confidence to move between different characters, between different voices.
When I first started writing plays I couldn't write good dialogue because I didn't respect how black people talked. I thought that in order to make art out of their dialogue I had to change it, make it into something different. Once I learned to value and respect my characters, I could really hear them. I let them start talking.
When you're writing a pilot, unless you already have an actor attached to the project, you're writing it with all the voices sort of in your head. Once you actually cast it, the actors become the voices of the characters, and you start to write for them and their strengths.
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.
I write in different styles because I hear different voices in my head. It would be boring to have always the same voice, point of view.
You hear as many things as you would imagine. I hear voices of people I loved once. I hear moments that took place. I hear silences.
Once I started to value and respect my characters, I could really hear them. I just let them start talking.
When you hear voices in your head that tell you to shoot the pope, do you do what they say? Same thing goes for customers and managers. They are the crazy voices in your head, and you need to set them right, not just blindly do what they ask for.
I am not afraid to stop the puck with my head. I try to do it sometimes even in practice; not everyday but once in a while, I say to my teammates, shoot me in my head and I'll try to stop the puck. I am not afraid at all of the puck, so sometimes, if the shot comes at my head, it's an easier save to make with your head. Maybe the people think a different way, but for me, I do it with my head.
When you listen to my music, you hear that there are all these voices going on in different parts of the song. That's because I was always around so many voices in church.
People probably have different philosophies about this, but I think that when you're first shaping the play and trying to find a character, the initial actors that develop it end up imprinting on it - you hear their voices; you hear their rhythms. You can't help but to begin to write toward them during the rehearsal process.
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.
So much of what I do... is coming up with new characters and trying to invent voices for them, and to have people fully fleshed out in my head and to know who can say what in the scene and who these characters are... I love it.
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 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.
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