Nate Write > Nate's Quotes

“An editor doesn't just read, he reads well, and reading well is a creative, powerful act. The ancients knew this and it frightened them. Mesopotamian society, for instance, did not want great reading from its scribes, only great writing. Scribes had to submit to a curious ruse: they had to downplay their reading skills lest they antagonize their employer. The Attic poet Menander wrote: "those who can read see twice as well." Ancient autocrats did not want their subjects to see that well. Order relied on obedience, not knowledge and reflection. So even though he was paid to read as much as write messages, the scribe's title cautiously referred to writing alone (scribere = "to write"); and the symbol for Nisaba, the Mesopotamian goddess of scribes, was not a tablet but a stylus. In his excellent book A History of Reading, Alberto Manguel writes, "It was safer for a scribe to be seen not as one who interpreted information, but who merely recorded it for the public good."
In their fear of readers, ancients understood something we have forgotten about the magnitude of readership. Reading breeds the power of an independent mind. When we read well, we are thinking hard for ourselves—this is the essence of freedom. It is also the essence of editing. Editors are scribes liberated to not simply record and disseminate information, but think hard about it, interpret, and ultimately, influence it.”
― Susan Bell, The Artful Edit: On the Practice of Editing Yourself

“You are beautiful because you let yourself feel, and that is a brave thing indeed.”
― Shinji Moon

“Longing is different than need. Needing to solve plot problems can kick protagonists into action, but that’s not the same thing as forging a human bond. What does that is inner yearning.”
― Donald Maass, The Emotional Craft of Fiction: How to Write the Story Beneath the Surface

“We are surrounded by symbols and take them for granted. They had to start somewhere, though, and gained their meaning because of historical use, which is suggestive for fiction writers. Anything can be turned into a symbol.”
― Donald Maass, The Emotional Craft of Fiction: How to Write the Story Beneath the Surface

“Symbols are not only objects; they can be gestures, places, and words. Story can be symbolic all on its own, as in allegory. Considering the power of this oldest of literary devices,”
― Donald Maass, The Emotional Craft of Fiction: How to Write the Story Beneath the Surface

“The effectiveness of symbols begins with their setup. If there is no context, as with diamond rings, symbols can have no effect. For readers to discover the symbolic meaning of an object they must be exposed to it in a pattern. Symbols sneak up. They’re perhaps not noticed at first, and aren’t meant to be, but after some recurrence, the note they strike is recognized. That isn’t always the way, of course. Big symbolic actions are the most potent when they come out of the blue.”
― Donald Maass, The Emotional Craft of Fiction: How to Write the Story Beneath the Surface

“The catalyst begins a story’s action. Something happens—a crime occurs, a letter arrives, Aunt Mary appears on the doorstep—and from that moment on the story is defined. Until the catalyst kicks off the story, the only information the audience has is where and when the film takes place. But once an event happens, the story suddenly has focus and direction.”
― Linda Seger, Making a Good Script Great

“Sometimes this catalyst presents a problem that must be addressed (there’s pollution or someone is ill) or a need (the need for a cure, the need to find the killer, the need to find someone who will commit to a true love). Sometimes the catalyst is a disturbance, something jarring that starts an extraordinary journey.”
― Linda Seger, Making a Good Script Great

“The strongest catalysts are specific actions.”
― Linda Seger, Making a Good Script Great

“Sometimes the catalyst can be a piece of information that a character receives. Such a catalyst orients the audience to the subject of the story through dialogue”
― Linda Seger, Making a Good Script Great

“that she must leave the convent to teach seven children (The Sound of Music) or that he’s given a chance to fight the champion (Rocky). Although this type of catalyst isn’t as forceful as an event, in relationship-based stories it might be very appropriate.”
― Linda Seger, Making a Good Script Great

“Sometimes a catalyst is situational, made up of a series of incidents that add up over a period of time. This sort of catalyst is rare, because hinting at action is usually not a strong way to start a story. Three films that have situational catalysts are Tootsie, Back to the Future, and Some Like It Hot. Tootsie, for instance, introduces the New York theater world, showing how difficult it is to get a job.”
― Linda Seger, Making a Good Script Great

“Every story, in a sense, is a mystery. It asks a question in the setup that will be answered at the climax. Usually, a problem is introduced or a situation that needs to be resolved is presented. This situation or problem raises a question in our minds, such as “Will the detective find the murderer?,” “Will these two beautiful young people fall in love and get married?,” “Will the mountain climber reach the summit of Everest?,” “Will the woman get promoted?,” “Will the man get cured of his terrible disease?” Once it is raised, everything that happens in the story relates to that question, which keeps coming up throughout the story. With each turning point and each setback and each step forward, the question is repeated subconsciously. At the story’s climax, there’s an answer, which is almost always “yes.” Will the detective solve the crime? Yes. Will the lovers get together? Yes. Will the mountain climber reach the top? Yes. But since we don’t learn the answers until the end, we remain interested in what will happen along the way and how the objective built into the central question will be accomplished. Once the central question has been asked, the setup is complete, and the story is now ready to unfold.”
― Linda Seger, Making a Good Script Great

“The word “beat” in drama tends to be somewhat vague. Actors sometimes use the term to designate a pause, as in “I want to take a beat after I pick up the knife but before going after my victim.” Writers may use the term to define a series of events, big (a murder) or small (taking a tomato out of the refrigerator). For example, a writer might decide to create six beats to show a meeting between the two soon-to-be lovers: Beat #1: A cute guy comes into a café. Beat #2: A gorgeous waitress asks him if he wants a cinnamon cappuccino or a mint latte. Beat #3: She brings him his coffee. Beat #4: She knocks it over. Beat #5: They both jump to clean up the mess. Beat #6: They bang heads; their eyes meet under the table, and it’s clear this is love at first sight.”
― Linda Seger, Making a Good Script Great

“For writers, a beat works in a script much as a beat works in a piece of music. In a song, single beats are grouped to make up a measure. By adding more beats (thus more measures) you create a phrase, and eventually an entire melody. In the same way, single dramatic beats or moments, placed together, create a scene. And the beats in a scene, together, create the beats of an act, and the beats of an act, together, create an entire film.”
― Linda Seger, Making a Good Script Great

“It turns the action in a new direction. It raises the central question again and makes us wonder about the answer. It often requires a decision or commitment on the part of the main character. It raises the stakes. It pushes the story into the next act. It takes the audience into a new arena, where a character’s actions may be seen with a new focus.”
― Linda Seger, Making a Good Script Great

“I must not fear. Fear is the mind-killer. Fear is the little-death that brings total obliteration. I will face my fear. I will permit it to pass over me and through me. And when it has gone past I will turn the inner eye to see its path. Where the fear has gone there will be nothing. Only I will remain.”
― Frank Herbert, Dune