Writing a novel is an incredibly free experience. One puts one's self in a narrative mode. You can go off in any direction - the past, the future, or go laterally, or include one's own beliefs. It's total freedom.
I was interested in theatre, and the only experience that I had in high school was as an actor. But when I got in Conservatoire, my teachers would give me a lot of flack because I wasn't rehearsing my lines; I'd be doing stage management. I was interested in sound. I was interested in architecture. I was interested in every aspect of theatre.
I think theatre must be an event, an experience, not compete with cinema. When people are able to download stories on Netflix, you need to give them a good reason to jump into the car and drive two hours. It has to be something you can only see in the theatre, and it has to be worth it.
Of course theater will always be associated intimately to literature, but the themes or whatever have to penetrate you by the senses. Theater is a sensuous experience, and that's its main difference from film or any other dramatic art.
And what's fascinating in The Ten Thousand Things is that although there's time, an inexorable time of the three generations of lives, actively present, but place is the time, time doesn't really have to do with simply the human experience of it.
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I think newspapers shouldn't try to compete directly with the Web, and should do what they can do better, which may be long-form journalism and using photos and art, and making connections with large-form graphics and really enhancing the tactile experience of paper.
When I write, I'm still imagining a kid reading it on paper. I read e-books when I travel, but in general I still prefer holding an old-fashioned book in my hands. There's a special, tactile experience.
Writing 'Book 1: The Maze of Bones' didn't feel much different than writing one of my other novels, but I thought it was very innovative to offer the website and trading card components as well for those readers who wanted to go more in depth with the Cahill experience.
The traveler was active; he went strenuously in search of people, of adventure, of experience. The tourist is passive; he expects interesting things to happen to him. He goes 'sight-seeing.'
I decided early on that I wanted to participate in the greater American experience, rather than the parochial one in Mississippi. But I have an urge as a writer to meld the Southern experience into the larger American one.
But perhaps the rest of us could have separate classes in science appreciation, the wonder of science, scientific ways of thinking, and the history of scientific ideas, rather than laboratory experience.
On the television planet, where men make up the tribe, the law of the caveman rules. So, for a woman coming from another world, without experience or cunning, to succeed gradually in gaining control over what is to be taped, what goes out over the air, what is said without censorship, is an epic feat.
I think that personal experience is very important, but certainly it shouldn't be a kind of shut-box and mirror-looking, narcissistic experience. I believe it should be relevant, and relevant to the larger things, the bigger things, such as Hiroshima and Dachau and so on.
My mother tried really hard to protect us, but occasionally, after afternoon cartoons of whatever was on... the nightly news would come on, and I'd see footage from the war zone, and I would hear the word 'Vietnam,' and I would know my dad was over there, and it was a very frightening experience for me.
The aim of all commentary on art now should be to make works of art - and, by analogy, our own experience - more, rather than less, real to us. The function of criticism should be to show how it is what it is, even that it is what it is, rather than to show what it means.
But in the back of my mind I've always looked to the biggest-scale Hollywood movies. Because to me the most satisfying experience is of watching a movie, if it's done really well. And so that aspiration is always it for me, if I have the opportunity to do it.
Read with care, George Orwell's diaries, from the years 1931 to 1949, can greatly enrich our understanding of how Orwell transmuted the raw material of everyday experience into some of his best-known novels and polemics.
I've run into people in my life who were so dramatic; people who are so extreme and so frustrating to be around that you end up thinking about them and talking about them for literally years after your experience with them is over. I've had that happen to me, and I've seen it happen to other people. I find it fascinating.
Throughout my whole life, as a performer, I've never played with a band. I've always played alone, so I was never required to stay in rhythm or anything. So it was a real different experience for me to start playing with a band. There were so many basic things for me to learn.
When I first started with 'Twilight,' I didn't have any experience. I didn't know what I was doing. So I was pretty intimidated by the editors and the publishers, and I felt like I was a kid in school with the principal telling me what to do! It was hard for me.
I had the easiest publishing experience in the entire world. I sent out fifteen courier letters to agents, got five no replies, nine rejections and one I want to see it. A month later I had an agent. Another month later I had a three book deal with Little Brown.
Non-fiction, and in particular the literary memoir, the stylised recollection of personal experience, is often as much about character and story and emotion as fiction is.
Our job as writers and thinkers in the time is how to bring about the occasions that let people have that first-person experience - or the metaphoric experience that allows them to see human continuity as opposed to total threat, total willingness to do violence.
The experience of being in the Army changed my whole life; I never believed that an organization such as ours could ever go to war, leave alone win it. It was, as Yeats remarked of the Easter Rising, 'A terrible beauty.'
And these two elements are at odds with one another because Freud is utterly adversary to almost all the ways of structuring the human experience found in Western religions. No Western religion can countenance Freud's view of man.
I grew up in a bookless house - my parents didn't read poetry, so if I hadn't had the chance to experience it at school I'd never have experienced it. But I loved English, and I was very lucky in that I had inspirational English teachers, Miss Scriven and Mr. Walker, and they liked us to learn poems by heart, which I found I loved doing.
I think that everything you do helps you to write if you're a writer. Adversity and success both contribute largely to making you what you are. If you don't experience either one of those, you're being deprived of something.
But the same thing was true in the army. You slept in a barracks with all kinds of people of every nationality, every trade, every character and quality you can imagine, and that was a good experience.
As a registered Democrat, I am praying for a credible presidential candidate to emerge from the younger tier of politicians in their late 40s. A governor with executive experience would be ideal.
I'm of that generation of Jews still deeply influenced by the Holocaust. Certainly the notion that the state power to kill can be subject to such extraordinary abuse is always lurking beneath the surface for me. Certainly my experience and identity as a Jew is there.
There are such beings as vampires, some of us have evidence that they exist. Even had we not the proof of our own unhappy experience, the teachings and the records of the past give proof enough for sane peoples.
Practical wisdom is only to be learned in the school of experience. Precepts and instruction are useful so far as they go, but, without the discipline of real life, they remain of the nature of theory only.
It looks like the writer is telling you a story. What the writer is actually doing, however, is using words to evoke a series of micromemories from your own experience that inmix, join, and connect in your mind in an order the writer controls, so that, in effect, you have a sustained memory of something that never happened to you.
Sometimes a book I'm reading is so terrific that when I finish, I simply turn back to page one and start all over again to see what I've missed, to experience it again, more deeply, or because I don't want to let it go.
I've always felt a great affinity with music. I've felt myself to be more of a musician than anything else, though I'm not proficient in any one instrument. But I think I have a musical sense of things... and writing seems to me to be a musical experience - rhythmically and in many other ways.
In real life we don't know what's going to happen next. So how can you be that way on a stage? Being alive to the possibility of not knowing exactly how everything is going to happen next - if you can find places to have that happen onstage, it can resonate with an experience of living.
The thing that always attracted me to New York was the sense of being in a place where a lot of people had a lot of stories not unlike mine. Everybody comes from somewhere else. Everyone's got a Polish grandmother, some kind of metamorphosis in their family circumstances. That's a very big thing - the experience of not living where you started.
I feel that when I began writing, I had a need to know more about the play before I got into it. I think that's the way I was thinking. But my actual experience is that the best way to find out what the structure is, is by writing the play out laterally. You just have got to be brave enough to start without knowing where you are going.
I think my experience as an actor helps me to write anything. It certainly helped me to write 'August Osage County.' It helps me to write any play that I'm working on because I think one of the things I do well is write good roles for actors.
Making movies is a very different experience in a lot of ways. It's difficult when you're used to owning the copyright and having a landlord's possessory rights - I rent my plays to the companies that do them and, if I'm upset, I can pull the play. But the only two directors I've worked with are pretty great.
Success is a sort of metaphysical experience. I live exactly as I did before - only on a slightly bigger scale. Naturally, I won't be corrupted. I'll sit there in my Rolls, uncorrupted, and tell my chauffeur, uncorruptedly, where to go.
I think the most interesting parts of human experience might be the sparks that come from that sort of chipping flint of cultures rubbing against each other. And living on the border between Mexico and the U.S. for so many years gave me a lot of insight into that.
It always seemed to me ironic that the McCain campaign kept referring sneeringly to Obama's meager resume - 'a mere community organizer!' - before he entered electoral politics. It was Obama's experience as a community organizer that proved such a killer app when he applied that skill to the Internet.
I had a spell no more striking than other people of my job description. I did all the things you weren't supposed to do. I had a motto: When in doubt, try it. I went out and committed experience.
The dead play a very prominent part in the experience of the wanderer abroad. The houses in which they were born, the tombs in which they lie, the localities they made famous by their good or evil deeds, and the works their genius left behind them are necessarily the chief shrines of his pilgrimage.
The problem was to sustain at any cost the feeling you had in the theater that you were watching a real person, yes, but an intense condensation of his experience, not simply a realistic series of episodes.
To the artist is sometimes granted a sudden, transient insight which serves in this matter for experience. A flash, and where previously the brain held a dead fact, the soul grasps a living truth! At moments we are all artists.
My experience in Amsterdam is that cyclists ride where the hell they like and aim in a state of rage at all pedestrians while ringing their bell loudly, the concept of avoiding people being foreign to them.
Masterpieces are not single and solitary births; they are the outcome of many years of thinking in common, of thinking by the body of the people, so that the experience of the mass is behind the single voice.
My understanding of the creative process is simply that all cultures and all concerns meet at a certain point, the human point in which everything is related to one another. That has been my creative experience. I never know who's influencing me at any time.
I have almost never written about my experience as a soldier on the battlefield, because I tried, and I found that it is beyond my capacity to describe the battlefield. The battlefield consists mostly of smells, and it is very difficult to describe smells in words - very difficult indeed.
Experience is knowledge; but knowledge, when it is sought only as a material resource, is not always a blessing. Experience is wisdom; but wisdom, with those who lack vision, is not always power. Experience is tolerance; but tolerance, when it is induced by apathy, is not in the least a virtue.
As any parent, teacher, or librarian knows, there is no richer experience than to see children's faces light up at the suspense of a new tale or the surprise of a new poem. The uninhibited joy with which they listen is surely akin to that of adult audiences of old around campfire and hearth.
All my life I've encountered people who were obsessed with one particular class of object or experience, who were constantly pursuing that thing. Since I was a little kid, I hadn't afforded myself the opportunity, I guess, to have a hobby.
I no longer feel attracted to the well-made novel. I want to write the story that will zero in and give you intense, but not connected, moments of experience. I guess that's the way I see life. People remake themselves bit by bit and do things they don't understand.
With this sense of the splendour of our experience and of its awful brevity, gathering all we are into one desperate effort to see and touch, we shall hardly have time to make theories about the things we see and touch.
Experience, already reduced to a group of impressions, is ringed round for each one of us by that thick wall of personality through which no real voice has ever pierced on its way to us, or from us to that which we can only conjecture to be without.
My father's life was so decimated by his earliest experiences. His mother died when he was 7 years old, which he always said was the worst experience in his life. When he was 8, his father disappeared and he was on his own from the age of 8.
Before people complain of the obscurity of modern poetry, they should first examine their consciences and ask themselves with how many people and on how many occasions they have genuinely and profoundly shared some experience with another.
I did not intend to stay; I had no experience in the United States - I may have been here less than 24 hours - but I knew I would never get inside there. And 'there' not being America necessarily, but that harmonious mode of living that some people are lucky enough to have in this country.
In life there are no problems, that is, objective and external choices; there is only the life which we do not resolve as a problem but which we live as an experience, whatever the final result may be.
My personal experience has been that in my 25 years of writing, I have not been asked to do more than four or five commercial one-shot scripts. These were performed on major national hook-ups but produced for me no immediate additional jobs or requests. One script for BBC was done around the world with an all-star cast.
Give, give, give - what is the point of having experience, knowledge or talent if I don't give it away? Of having stories if I don't tell them to others? Of having wealth if I don't share it? I don't intend to be cremated with any of it! It is in giving that I connect with others, with the world and with the divine.
The pain of losing my child was a cleansing experience. I had to throw overboard all excess baggage and keep only what is essential. Because of Paula, I don't cling to anything anymore. Now I like to give much more than to receive.
The striking thing about the Precious Blood is the bond it establishes between love and suffering in our experience, a bond that has become so close that we have come to think of suffering accepted with joy as the most authentic sign of love with any depth at all.