At the risk of appearing disingenuous, I don't really think of myself as 'writing humor.' I'm simply reporting on the world I observe, which is frequently hilarious.
Richard RussoRead
I have to have a character worth caring about. I tend not to start writing books about people I don't have a lot of sympathy for because I'm just going to be with them too long.
Interpretation
A writer must create relatable characters to maintain their own engagement in the story.
Richard Russo emphasizes the importance of character development in writing. He asserts that a writer should cultivate characters that evoke sympathy and care, as the emotional connection to these characters can deeply affect both the writer's experience and the reader's engagement with the story.
In practice
An author discussing the need for relatable characters in a writing workshop.
At the risk of appearing disingenuous, I don't really think of myself as 'writing humor.' I'm simply reporting on the world I observe, which is frequently hilarious.
I think that if people are instructed about anything, it should be about the nature of cruelty. And about why people behave so cruelly to each other. And what kind of satisfactions they derive from it. And why there is always a cost, and a price to be paid.
My books are elegiac in the sense that they're odes to a nation that even I sometimes think may not exist anymore except in my memory and my imagination.
I told him the truth, that I loved him and didn't regret anything about our lives together. But do we ever 'tell the truth, the whole truth, and nothing but the truth, so help me God' as my father used to say, to those we love? Or even to ourselves? Don't even the best and most fortunate of lives hint at other possibilities, at a different kind of sweetness and, yes, bitterness too? Isn't this why we can't help feeling cheated, even when we know we haven't been?
He'd discovered that his memories of that summer were like bad movie montages - young lovers tossing a Frisbee in the park, sharing a melting ice-cream cone, bicycling along the river, laughing, talking, kissing, a sappy score drowning out the dialogue because the screenwriter had no idea what these two people might say to each other.
A couple years ago, the novelist Russell Banks told me he was reading the ancient Greek historian Herodotus. I asked why. He said, 'Because I've always wanted to and am tired of having my reading assigned.' I thought it was a marvelous declaration of independence.
The commitment to working at poetry is important because a poet is a maker, and a poem is a made thing. We have to honor our feelings by working to transform them into something meaningful and lasting.
I have never felt inhibited in trying to write as well as the greatest English poets.
Music and language are a vital element. We, as actors and directors, offer it to people who want to experience it. Sometimes the actual meaning is less important than the words themselves.
I was a little concerned that a lot of people thought I wrote Merchant Ivory movies. I also thought if I was ever going to write something strange and difficult, that was the time.
The world concerns me only in so far as I have a certain debt and duty to it, because I have lived in it for thirty years and owe to it to leave behind some souvenir in the shape of drawings and paintings – not done to please any particular movement, but within which a genuine human sentiment is expressed.
When I was in high school, I felt totally alienated from the world, but I loved movies. They were my escape, but coming from a disadvantaged community, I never knew that filmmaking was an option for me. A program like School of Doc would have been a game-changer.
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