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.
100 years of Indian cinema has happened. Anything you do, feels like it has already been done. The struggle is to find a new and unique idea.
To provide background and physical description and all the rest is of course vital to fiction, but vital only insofar as such detail is in the service of a richly imagined story, rather than in the service of good botany or good philosophy or good geography.
Some things you know about, you know what the ingredients are - maybe not all of them. But it's up to you to put in the amount. It's up to the director to nag you until you get it right.
I have an impulse to write all over the orange walls- I need an alphabet of endings ripped out of books, of hands pulled off of clocks, of cold stones, of shoes filled with nothing but wind.
The word war itself has a kind of glazing abstraction to it that conjures up bombs and bullets and so on, whereas my goal is to try to, so much as I can, capture the heart and the stomach and the back of the throat of readers who can lie in bed at night and participate in a story.
The relationship between the public and the artist is complex and difficult to explain. There is a fine line between using this critical energy creatively and pandering to it.
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