Dramatic Writing Quotes Page 2

I tend to work most often from the method of ignoring any ritualistic writing for long periods of time, and then I'll spend three straight weeks writing for 12 hours a day and just going through the motions with my worldly business because the compulsion to write descends upon me like a kind of madness. I don't mean to be dramatic, but it feels that way when it strikes.

When I'm writing in my bedroom, in a bar, at my kitchen table or wherever, I'm conjuring it all up on the page. That's all well and good, but it is going to be a limited perspective at that point and time. Occasionally, what I write might read really well initially, but then you change your mind while hunting for locations when you discover settings which offer even better opportunities for drama or dramatic staging.

I've always had a flare for the dramatic.

I thought about being an actor and I thought about directing, but writing truly became something I needed to do, just to stay sane. It's my over-pressure valve.

I don't have an aversion to quote unquote remakes, because I understand what dramatic writing is, what the dramatic profession has always been about, which is talent, not the pretext for its exhibition.

The only rule I have when writing is to try to tell the truth.

That doesn't mean you can't exaggerate, edit, rewrite things to make them more dramatic. But emotional truth is what I look for in writing.

By the time I was writing the second book, my life had changed rather dramatically, thanks to the intervention of television, and I needed to find a way to discuss that. Otherwise the big, fake book would not be true on some level.

I write what I can. I think being able to write like Michael Connelly and have a character that goes from novel to novel, or to dramatize history like Vidal or Ellroy, or have an explosively inventive mind like Bulgakov, would be an incredible thing. I don't have that. I only have what I have.

I am proud to be a Turk, and to write in Turkish about Turkey - and to have been translated into about 40 languages. But I don't want to politicize things by dramatizing them.

The impulse to write the poem, that impulse is a great dramatic impulse.

But hell, anybody could write a play. I do know this: all writers are not dramatists. You may be a great writer, but that doesn't necessarily mean you're a dramatist. Very few people have done both.

I write my books to challenge my own feelings and theories.

Perhaps most surprising was what I learned about rice farming. It was really interesting to think of how different Asian and Western cultures are as a result of the kinds of agricultural practices that our ancestors used for thousands of years. The life of a Chinese peasant in the Middle Ages was so dramatically different from the life of a European peasant - night and day different.

I don't think I'm a great actress. I think I can act or I can react. Coming from a musical background and being a dramatic singer and writer, when I write stuff I really feel it. So I sing it like it comes from here. That's how I do the acting.

People don't live their lives in a series of scenes that form a dramatic narrative, they don't speak in dialogue, they're not lit by a cinematographer or scored by a composer. The properties of real life and the properties of drama have almost nothing to do with each other. The difference between writing about reporters and being a reporter is the same as the difference between drawing a building and building a building.

It's not enough simply to record the way people actually talk.

The dialogue must be concentrated, shaped, dramatically moving, in a way that real-life conversation seldom is.

Sometimes I think it is ... frustration with life as it is lived day to day that compels me to write such long letters to people who seldom reply in kind, if indeed they reply at all. Somehow by compressing and editing the events of my life, I infuse them with a dramatic intensity totally lacking at the time, but oddly enough I find that years later what I remember is not the event as I lived it but as I described it in a letter.

I write poems from dreams pretty frequently.

It's limiting to think the poem has to come from a sensical lyric "I" stating things clearly or dramatically. This whole course is trying to say there are millions of ways to approach writing a poem.

People do tell a writer things that they don't tell others.

I don't know why, unless it is that having read one or two of his books they feel on peculiarly intimate terms with him; or it may be that they dramatize themselves and, seeing themselves as it were as characters in a novel, are ready to be as open with him as they imagine the characters of his invention are.

All the writing elements are the same.

You need to tell a good story... You've got good characters... People think there's some dramatic difference between writing 'Little Bear' and the 'Hunger Games,' and as a writer, for me, there isn't.

I've gotten a little superstitious about listening to music when I write.

Once a story is going somewhere, I keep listening to the same music whenever I work on that story. It seems to help me keep in voice, and alternatively, if I need to make some kind of dramatic shift, I'll go and put on something different to shake myself awake...

I'm trying to write for people my age. And my inspiration over the years has changed dramatically.

Shakespeare was the Homer, or father of our dramatic poets;

Jonson was theVirgil, the pattern of elaborate writing; I admire him, but I love Shakespeare.

To present a scientific subject in an attractive and stimulating manner is an artistic task, similar to that of a novelist or even a dramatic writer. The same holds for writing textbooks.

People's lives change dramatically over such a long time period, and I think that if you're still vital, and you're still interested in writing and things like that, of course your music evolves and reflects where you are in your life.

The more complex and overwhelming the threat to a protagonist, the better the opportunity for the author to create a compelling conflict and a dramatic resolution.

Fiction ought to announce the problems, dramatize the problems, display them.

Yet offer no set answer. An answer would solve the mystery. Writing fiction, for me, is about putting on paper my obsessive interest in something mysterious. I may figure out the source of the mystery, the things that brought some action or image to my mind, but to make an equation of it would ruin the story.

The trick in writing children's books is to set up danger, mystery and excitement on page one. Force the kid to turn the page . . . Then in the middle of each chapter there's a dramatic point of excitement, and at chapter's end, a cliffhanger.

The only valid reason to use clichés is in the speech of a character.

Cliches are indications of sloppy writing. The writer does not respect the scene he is trying to dramatize enough to fashion it through precise prose and imaginative imagery. From the book Dare to be a Great Writer: 329 Keys to Powerful Fiction by

Graphomania (a mania for writing books) inevitably takes on epidemic proportions when a society develops to the point of creating three basic conditions: - (1) an elevated level of general well being which allows people to devote themselves to useless activities (2) a high degree of social atomization and , as a consequence, a general isolation of individuals; (3) the absence of dramatic social changes in the nation's internal life.

……, but as I am a scholar I feel obliged to document what it is like here, most of the time, between the dramatic climaxes. In truth it is like this: You cannot imagine how time can be so still. It hangs. It weighs, and yet there is so little of it. It goes so slowly and it is so scarce. If I was writing this scene it would last a full 15 minutes. I would lie here and you would sit there.

Some things are hard to write about. After something happens to you, you go to write it down, and either you over dramatize it, or underplay it, exaggerate the wrong parts or ignore the important ones. At any rate, you never write it quite the way you want to.

I have never done anything except write, but I don't possess the vocation or talents of a narrator, have no knowledge at all of the laws of dramatic composition, and if I have embarked upon this enterprise it is because I trust in the light shed by how much I have read in my life.

Keep me up till five because all your stars are out, and for no other reason…Oh dare to do it Buddy! Trust your heart. You’re a deserving craftsman. It would never betray you. Good night. I’m feeling very much over-excited now, and a little dramatic, but I think I’d give almost anything on earth to see you writing a something, an anything, a poem, a tree, that was really and truly after your own heart.

Don't get me wrong, magic is cool. But a nervous mother singing to her child at night while something moves quietly through the dark outside her house? That's a story. Handled properly, it's more dramatic than any apocalypse or goblin army could ever be.