Sometimes it seems your ever-increasing list of things to do can leave you feeling totally undone.
We just want to be remembered before something is set in stone.
I had been told that the training procedure with cats was difficult. It's not. Mine had me trained in two days.
It's very important to make the man believable so that you can stretch the fantasy. Whether people like this kind of Bond is another question.
of all the unusual features of Stargirl, this struck me as the most remarkable. Bad things did not stick to her. Correction: her bad things did not stick to her. If we were hurt, if we were unhappy or otherwise victimized by life, she seemed to know about it, and to care, as soon as we did. But bad things falling on her -- unkind words, nasty stares, foot blisters -- she seemed unaware of. I never saw her look in a mirror, never heard her complain. All of her feelings, all of her attentions flowed outward. She had no ego.
In fiction the narrator is a performance of voice, and it can be any style of voice, but I'm interested in the ways that a voice that knows it's telling a story is actually telling a different story than it intends to. In the way that I can sit here and tell you what I had for breakfast, but I'm really telling you that I'm having an affair, something like that. And I don't think my writing is plain, but I think a lot of my characters are just talking. There is vulnerability there, in that we can start to see through them, we can start to see where they're deceiving themselves.
She comes from the school of getting it out of your system, whereas he comes from the school of stewing over it.