I'll find something in what I read that snags my imagination in emotional terms; it resonates with me for reasons more complicated than just that it seems like it would make a good story.
I found at a young age that emotions aren't always handled with talking and other emotions. I started ballet, seriously around fourteen, and let me tell you, nothing can give you an emotional reset like a good ballet barre.
I started dealing with my emotional pain by writing. I always had been a writer, but just not songs. Saying things on paper that I would never, ever say, and saying things to myself, admitting things to myself, about myself and my personality, just putting it on paper, is how I deal with emotional pain.
It seems nobody really talks about what we do with our emotional pain. Only the ascendant perhaps, who have learned how to fully meditate or do yoga or whatever through their emotional pain.
I do all the things that singer-songwriters do. I introduce the songs, I have a story to tell about everything all the time - I cannot be on stage and have something on my mind without telling the audience. I'm super emotional and expressive and vulnerable in that moment.
To me exposition always contains tenderness. While a dramatized scene is a way of proving and guaranteeing an emotional experience for the reader, exposition assumes that the reader is sophisticated and can see the universal.
My own emotional health issues were bullying me during the time I was drafting that poem. It was a pressure I couldn't pin down or diagnose. And like many, if not most, writers I had the self-consciousness to recognize it made great conditions for writing.
When you come to the spiritual needs, the emotional needs, the needs of our inner life, then politics and business and technology are completely impotent. They are completely unable to meet and address the needs of human beings.
Today the challenge is not visuals, but to be able to tell a riveting emotional story, something that can reach deep down inside the audience's heart and twist it like a toy to make them laugh, cry or jump out of their seats to root for the hero.
Most of the people I've been fortunate enough to work with all share the same passion for creativity, for ingenuity, for playing make-believe and really just having fun. It doesn't matter if we're blowing up cars, or shooting an emotional scene in a police station, deep inside we all know our imaginations are at work, and our imaginations are manifesting into reality - at least momentarily for the cameras to capture.
I have people who come up to me and say, 'Oh, seeing your work in my little home town in the middle of nowhere on the internet inspired me to move to London, or New York and pursue a creative career.' It makes me quite emotional.
Milton on speed. I am going to need about a decade to think about that. That delay in syntax, the putting off of the click of the sentence into itself, is something that has always intrigued me. I love the emotional effect of it, and never want it to be merely a gesture. Sometimes I try it and it doesn't work, so I have to put the poem aside, and try again, more simply and more strange.
Not that I play guitar anywhere near as well as she sings, but I think I have always had a tendency to play solos the same way, in emotional relation to the structure of the song. I choose simple lines, and only play what seems emotionally relevant, and often express that emotion in time, that is in play or resistance to the set time of the song.
I just know from experience that reading a funny poem aloud, especially at the beginning of a public reading, can have a certain effect. Somehow narrowing the spectrum of possible emotional reactions. So while I like it when people laugh at my poems, and I definitely enjoy being funny in them, I don't really think that's the most important thing that's going on, at least not to me.
When you reflect upon the significance of Dr. King to this nation, it's criminal that he hasn't had a feature film that was centered around him until now. That, in and of itself, was emotional. But when you're doing scenes on the Edmund Pettus Bridge, with people still living in Selma and now in their 60s and 70s who had actually marched, who were there that original Bloody Sunday, that's humbling... that's deeply moving. You're no longer acting at that stage, you're just reacting, because it takes the filmmaking process to another dimension.
Emotional, physical, and spiritual estrangement and ontological and religious doubt inform my personality, my thoughts, and my characters, which are, more often than not, masks for my own being and my being in the world - a world that frightens me insofar as I don't understand it.
When you walk to the end of a fiction, its procedure is 1) intuitive; and 2) emotional. Its intelligence is emotional, I think.
Eliot said that "genuine poetry can communicate before it is understood." What he meant by that is, the emotional understanding comes before you understand the argument that follows later in the text.
I was aware that I had to pay off things in a convincing emotional fashion, that I had to address the lingering plot points in some real tangible sense, and that I had to make this a self-contained novel, in case I'm run over by a bus tomorrow or in case there's no demand for anyone to ever see a sequel. (Two things that I hope don't happen, incidentally.)
Music is, by far, the best art. Nothing even comes close. It's so immediate and emotional. In writing, maybe ninety percent of it is the unconscious and ten percent is control. In music, I think it's probably more like ninety-nine percent the unconscious. It's just a beautiful thing happening through you. And so, too, is writing a great story.
I can be really silly when I'm not actually writing silliness, and I have to rein that in. Pynchon, in my opinion, sometimes tells elaborate shaggy dog stories just to work up to a pun or punch line. My challenge is to use humor and wordplay to reinforce the emotional core of the novel.
I love museums, but I always thought there was something funny about a group of strangers silently staring at works of inanimate objects together. Each person is having a very personal and maybe even emotional experience, but it's in the confines of an extremely quiet and sterile room.
I'd listen to things that felt really good in the moment and realize they were clouded by enthusiasm or caffeine. And things that I was struggling to get out ended up being really compelling. It's an emotional roller coaster; there's exhilaration and there's shame.
Putting your ego aside and confronting your weaknesses and just letting things happen is hard. Not to use a Scientology term, but it's difficult to do an emotional or an artistic audit.
Personally I have my own political views and being straight-edge I'm happy to talk about that, but the music that always meant the most to me, was more emotional.
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