Fell in love with this guy from Dan in Real Life. He was responsible for all the music and most of the words. Below is a video of his acoustic set at Sundance 2008. Enjoy!
Posted the Green review, requested this one:
4 of 5 snow white lions.
In Green, Ted Dekker attempts to pull an Uroborus on his Circle Series AND encompass his Paradise novels and Lost Books. Other than a few off-notes, I think he does a good job.
The setup: Thomas of Hunter has lived for 10 years in another world where spiritual things are physical. Sin crawls the flesh and infests the mind, evil flies the skies as bat-like creatures, the people of the Gathering bathe in Elyon’s water and eat his fruit. Meanwhile, in the heart of the evil city, a new dark priest is stirring the embers toward full-on war in Miggdon Valley. (Sound familiar? Read Revelation recently?) Meanwhile, back in our world , those who knew Thomas when he saved the world from a disastrous airborne virus are dealing with his disappearance of almost 30 years. Then, people start crossing borders and time and things get hairy. Oh yeah, and vampires.
Where it works: Dekker does fantastic things with character and place names and imagery. The allusions that I caught were well placed and tight. The pace is fast and doesn’t want to let you go. The relationship between realities is revealed but not explained which works well for this series.
Where it does not work: This is not a book for the neophyte. Regardless of the printed subtitle (“Book 0”), Green is best read as the culmination of the series. Too much of the book will seem superfluous or unduly complicated if you haven’t read Books 1 through 3. As it is, I’ve only read Showdown from the Paradise Novels and that was several years ago. Parts of this book flew right past me and I had to put them off as uncaught.
Oh yeah, and vampires. I know, there’s a lot of significance on blood in this series and there has been from the start. AND I LIKE THAT. I just think the timing is unfortunate, feels a bit like riding on coattails. But who can predict these things from five years ago? (Unless it was a last minute addition for trendiness sake but we won’t go there, will we?)
The copy I received had a few printing errors where the print had lifted off the page or was misaligned. Luckily, it was only in some less important, less tense bits.
Judgment Call: Buy this book for the Dekker fan who has read at least the other Circle books or buy the whole set and immerse yourself. This is religious fiction in the vein of L’Engle and Lewis’s Faces. Yeah, it’s a little heavy-handed on allegory, but it’s no Left Behind. And while you can read it at a surface level, there’s plenty of meat on them bones. Dive on in. That’s an allusion for the Circle readers. (wink)
In Green, Ted Dekker attempts to pull an Uroborus on his Circle Series AND encompass his Paradise novels and Lost Books. Other than a few off-notes, I think he does a good job.
The setup: Thomas of Hunter has lived for 10 years in another world where spiritual things are physical. Sin crawls the flesh and infests the mind, evil flies the skies as bat-like creatures, the people of the Gathering bathe in Elyon’s water and eat his fruit. Meanwhile, in the heart of the evil city, a new dark priest is stirring the embers toward full-on war in Miggdon Valley. (Sound familiar? Read Revelation recently?) Meanwhile, back in our world , those who knew Thomas when he saved the world from a disastrous airborne virus are dealing with his disappearance of almost 30 years. Then, people start crossing borders and time and things get hairy. Oh yeah, and vampires.
Where it works: Dekker does fantastic things with character and place names and imagery. The allusions that I caught were well placed and tight. The pace is fast and doesn’t want to let you go. The relationship between realities is revealed but not explained which works well for this series.
Where it does not work: This is not a book for the neophyte. Regardless of the printed subtitle (“Book 0”), Green is best read as the culmination of the series. Too much of the book will seem superfluous or unduly complicated if you haven’t read Books 1 through 3. As it is, I’ve only read Showdown from the Paradise Novels and that was several years ago. Parts of this book flew right past me and I had to put them off as uncaught.
Oh yeah, and vampires. I know, there’s a lot of significance on blood in this series and there has been from the start. AND I LIKE THAT. I just think the timing is unfortunate, feels a bit like riding on coattails. But who can predict these things from five years ago? (Unless it was a last minute addition for trendiness sake but we won’t go there, will we?)
The copy I received had a few printing errors where the print had lifted off the page or was misaligned. Luckily, it was only in some less important, less tense bits.
Judgment Call: Buy this book for the Dekker fan who has read at least the other Circle books or buy the whole set and immerse yourself. This is religious fiction in the vein of L’Engle and Lewis’s Faces. Yeah, it’s a little heavy-handed on allegory, but it’s no Left Behind. And while you can read it at a surface level, there’s plenty of meat on them bones. Dive on in. That’s an allusion for the Circle readers. (wink)
Moving in a little more upbeat direction . . . A bit of hip-hop, a bit of scratch, a bit of Seattle. MG the Visionary from his 2000 album TransparEmcee. Good for housework, driving, listening, delving. And trying really hard to keep the words straight when you attempt to sing along. Enjoy!
is one of those.
Running behind. Without legs. So maybe 'running' isn't the best word.
Here is my own photography.
I dropped the ball.
And the sun.
Sadness.
Running behind. Without legs. So maybe 'running' isn't the best word.
Here is my own photography.
I dropped the ball.
And the sun.
Sadness.
I'm already reviewing a book for Thomas Nelson so I can't request this one. But I really want to. Mostly because of these commercials.
Today I finished deconstructing the front flowerbed. Not sure yet what we're going to do to keep our front porch from flooding since our house is lower than the street. Maybe bury the front of the house? Did I mention that it's been raining off and on here for the last four days? (I am secretly excited about our moat!)
Can I just say that I really enjoy the ukelele in non-traditional songwriting? Well, even if you just said "no," I did it anyway.
So, I found this youtube songwriter person that I really enjoy. Plus her eyes remind me of my wife. Perfect! Here's a sample
Then there's this other guy that I like. He's based out of Canada. Yay, Canada! He sings Robbie Burns and other traditional Scots music as well as Irish rebel songs in a deepish voice. Enjoy!
So, I found this youtube songwriter person that I really enjoy. Plus her eyes remind me of my wife. Perfect! Here's a sample
Then there's this other guy that I like. He's based out of Canada. Yay, Canada! He sings Robbie Burns and other traditional Scots music as well as Irish rebel songs in a deepish voice. Enjoy!
A banjo, a drum set, a flute and an acoustic fretless bass guitar. Beautiful, folksy and virtuosic. The perfect blend for a Tuesday morning. Or any time really.
A young man sans shirt and shoes just walked through the library followed by a police officer wearing latex gloves.
This article crossed my desk. I want to read it. "'Call me a Protestant': Liberal Christianity, Individualism, and the Messiah in Stranger in a Strange Lad, Dune, and Lord of Light" by Julia List. Science Fiction Studies, v36, i1 (2009).
This article crossed my desk. I want to read it. "'Call me a Protestant': Liberal Christianity, Individualism, and the Messiah in Stranger in a Strange Lad, Dune, and Lord of Light" by Julia List. Science Fiction Studies, v36, i1 (2009).
there are some things you really shouldn't say while your wife is clothes shopping.
Whose dulcet tones leave you rocking well after the music ends?
Why, Charlie Hardin! Or, as I grew up knowing him, Charlie Murphey. Charles and I were in junior high and high school together. We did a lot of plays and last minute projects and one of us showed up to school in a cow costume with an uncovered udder. But no one is here to hear my reminiscences. That was a long time ago. Now, Charlie lives in the country music capital of the world, writing and performing music that is not country, working landscaping to support his music and movie habits. Let us get on to the interview:
1. So, Charlie. Do you mind if I call you Charlie? How did you get started along this long lonely road to being a rock star?
I in fact prefer Charlie to some other variations of the name which people who may or may not be conducting this interview may or may not have taken to using from the year 1999 until the present time. There are two distinct (and not exactly rock and roll) events that drove me to the arms of musicianship.
Firstly, when I was about seven or eight I was introduced to the most rock and roll thing my young ears had been allowed to listen to up to that point - Petra. At this time my parents were permanent staff at Broken Arrow Bible Ranch just south of Gallup, New Mexico. We were a pretty conservative bunch, so I had only really listened to Vinyard and Maranatha Praise cassettes and maybe some Twila Paris if I was really lucky (many thanks to Don Moen). The camp director, a guy named Steve Knox, blew my seven year old mind. He gave me a copy of Petra's album "Beyond Belief," and that was all she wrote. I got way hooked on the musical stylings of Bob Hartman and company, and soon moved on to such 80's CCM mainstays as Whiteheart and Harvest. Without any reason to believe that I was capable of writing songs or playing an instrument, I knew around the age of seven that I wanted to run around a stage in very tight pants.
The second, and truly the impetus that pushed me over the edge of "I feel like I would love this" into "I'm on this train, yall," occurred several years later at my home in Starkville, MS. A few months before my 12th birthday I saw the movie That Thing You Do and instantly knew that I was born to be Guy Patterson. I was Sparticus. I began hounding my parents about taking up the drums. I made all my friends watch That Thing You Do at my 12th birthday party. I was very not cool. After several months of begging for some drums, my dad suggested something to the effect of "I don't think we have room for drums. Why don't you try guitar?" So, if you need someone to blame, blame Tom Hanks.
2. Top 5 songs to play on a Monday morning while landscaping.
Monday are rough all over, so the required songs are not likely somber slow burners.
-"Jellybelly" Smashing Pumpkins
-"Range Life" Pavement
-"Bury Me With It" Modest Mouse
-"Skyline" Finding Steve Cunningham
-"Jitterbug" Wham!
3. Name some of your major musical influences and how they’ve affected your work?
I'm not sure if it's fair to accuse the music I love of affecting my work. I think that may shoulder some truly great folks with a responsibility for me trying and mostly being unsuccessful at writing something that is as good as the thing I am aping. All that aside, when I first started writing around the age of 11, I was mostly only listening to Christian music, but there are some gems that I love to this day for the way that they managed to be really great writers and still be inside of the CCM box (although not too comfortably, I am sure). Namely, Rich Mullins and Chris Rice were and are two very foundational songwriters for me. Around that same time I was swallowed whole by the Wallflowers' "Bringing Down the Horse," which is more or less a perfect album.
The next 8 years were kind of a jumble that I would prefer to leave alone in great part, but in the 10th grade Eric Sanford let me borrow Jimmy Eat World's "Clarity," which has stuck with me.
As far as what is currently a muse of sorts, I can always take more Wilco. One helping is never enough. Jeff Tweedy and company write songs at my soul's natural resonant frequency. Other songwriters and bands that I have found their way in to the homage lab would include Ryan Adams, Josh Ritter, David Gray, etc... I think what I love about each of those guys is that they are all much more "songwriters" than they are "musicians," and I identify with that.
I am a big sucker for epic things too, so stuff like Arcade Fire and My Morning Jacket or more classic (and classy!) stuff like Blood, Sweat and Tears and Elton John's Goodbye Yellowbrick Road or the untouchable Pet Sounds really get me going crazy. Not a huge songwriting influence, but I'm just loving the Pumpkins right now. The 90's were magical.
4. As someone who works with language, could you give us a glimpse into your writing and revision process?
To call it a process would entail an actual process... I generally have several baby songs in utero at any given time, but the gestation period is what varies. Some songs are conceived and born in a matter of hours, such as Bad Tooth. I had been processing through my mother's passing, and a picture I have of her from the last time we were together was a great touchstone for that. That one just sort of fell out in one great big piece.
More commonly, however, I will find a line that acts as the seed of a song, and out of that the song will grow, a section at a time. With the song "Both Eyes Now," the prechorus was its own little thing for months before the rest came together.
I get hung up at one verse and one chorus a lot... from there it is a matter of motivation to put in the work and find the most satisfying and most sincere complement to the existing portions of the song. That could take months or just never really happen. Sometimes I'll start Frankensteining lines together to see if the bit I had about the mall dying out will work with the lines for the girl with the Babylon neck. Honestly, I think most of the time it's about whether or not I am exercising discipline in the writing, and the rest of the time it's just my own form of alchemy.
5. From a practice viewpoint, how do you deal with creative blocks?
I find that the more sedentary I am, the less I can write. Honestly, if I watch TV for four days, I am probably not going to write a song. If I am mowing lawns for 9 hours a day, I will probably have several ideas floating around, waiting to be fleshed out. I am not a very good reader anymore, but when I make myself read I almost always find words and forms worth using. Any great story in any format will usually stir something. Repeated heartbreak is like W-D40 for songwriting. If someone loses something or someone at a great emotional cost to them and can't manifest that into their work, I don't think creative things are for them. Or maybe they are simply a more private person than I.
7. I know that a fair number of your songs are autobiographical. I also know that you want to write the best songs possible. How do you write the most ‘true’ song without getting bogged down in the facts?
I write very autobiographically, and I made a deal with myself a few years ago to only write things I really meant and stop writing crap I thought girls would like (if any of you ask to hear the somewhere over the rainbow number, this is why I won't play it), but being inside of a situation without grounding has a lot to offer for the sake of sincerity.
So, for me both perspectives are equally valuable - how a situation looks on the inside and how it looks on the outside. "Just the Facts Ma'am" may provide the skeletal structure of the situation, but the uneven and biased and completely imbalanced inside perspective can create the colors and tone. Or maybe those two perspectives, "I've moved past it" vs. "I'm still in it," are just two different songs. See "Clear Blue Sadness" vs. "Cold War Girl".
8. How can people hear your music or find out about upcoming shows?
You can jump on my email list by emailing charliehardinmusic@gmail.com and giving me your zip code. That way I can email you when I come around near you or if I'm releasing something new. You can always go to Myspace.com/charliehardin. Or become a fan on Facebook.
9. Anything else you'd like to share ?
I have an affinity for time travel. A very serious affinity. If you just want to geek out about Tipler cylinders, hit me up.
--
And there you have it folks, CharlieMurphey Hardin. In the (digital) flesh. You can also hear some of his slightly older side project stuff here. My favorite song is the Slow Motion rough demo. Probably because I remember him playing it at my parents' house. But if you get a chance, ask to hear Albatross. That's about my wedding.
Why, Charlie Hardin! Or, as I grew up knowing him, Charlie Murphey. Charles and I were in junior high and high school together. We did a lot of plays and last minute projects and one of us showed up to school in a cow costume with an uncovered udder. But no one is here to hear my reminiscences. That was a long time ago. Now, Charlie lives in the country music capital of the world, writing and performing music that is not country, working landscaping to support his music and movie habits. Let us get on to the interview:
1. So, Charlie. Do you mind if I call you Charlie? How did you get started along this long lonely road to being a rock star?
I in fact prefer Charlie to some other variations of the name which people who may or may not be conducting this interview may or may not have taken to using from the year 1999 until the present time. There are two distinct (and not exactly rock and roll) events that drove me to the arms of musicianship.
Firstly, when I was about seven or eight I was introduced to the most rock and roll thing my young ears had been allowed to listen to up to that point - Petra. At this time my parents were permanent staff at Broken Arrow Bible Ranch just south of Gallup, New Mexico. We were a pretty conservative bunch, so I had only really listened to Vinyard and Maranatha Praise cassettes and maybe some Twila Paris if I was really lucky (many thanks to Don Moen). The camp director, a guy named Steve Knox, blew my seven year old mind. He gave me a copy of Petra's album "Beyond Belief," and that was all she wrote. I got way hooked on the musical stylings of Bob Hartman and company, and soon moved on to such 80's CCM mainstays as Whiteheart and Harvest. Without any reason to believe that I was capable of writing songs or playing an instrument, I knew around the age of seven that I wanted to run around a stage in very tight pants.
The second, and truly the impetus that pushed me over the edge of "I feel like I would love this" into "I'm on this train, yall," occurred several years later at my home in Starkville, MS. A few months before my 12th birthday I saw the movie That Thing You Do and instantly knew that I was born to be Guy Patterson. I was Sparticus. I began hounding my parents about taking up the drums. I made all my friends watch That Thing You Do at my 12th birthday party. I was very not cool. After several months of begging for some drums, my dad suggested something to the effect of "I don't think we have room for drums. Why don't you try guitar?" So, if you need someone to blame, blame Tom Hanks.
2. Top 5 songs to play on a Monday morning while landscaping.
Monday are rough all over, so the required songs are not likely somber slow burners.
-"Jellybelly" Smashing Pumpkins
-"Range Life" Pavement
-"Bury Me With It" Modest Mouse
-"Skyline" Finding Steve Cunningham
-"Jitterbug" Wham!
3. Name some of your major musical influences and how they’ve affected your work?
I'm not sure if it's fair to accuse the music I love of affecting my work. I think that may shoulder some truly great folks with a responsibility for me trying and mostly being unsuccessful at writing something that is as good as the thing I am aping. All that aside, when I first started writing around the age of 11, I was mostly only listening to Christian music, but there are some gems that I love to this day for the way that they managed to be really great writers and still be inside of the CCM box (although not too comfortably, I am sure). Namely, Rich Mullins and Chris Rice were and are two very foundational songwriters for me. Around that same time I was swallowed whole by the Wallflowers' "Bringing Down the Horse," which is more or less a perfect album.
The next 8 years were kind of a jumble that I would prefer to leave alone in great part, but in the 10th grade Eric Sanford let me borrow Jimmy Eat World's "Clarity," which has stuck with me.
As far as what is currently a muse of sorts, I can always take more Wilco. One helping is never enough. Jeff Tweedy and company write songs at my soul's natural resonant frequency. Other songwriters and bands that I have found their way in to the homage lab would include Ryan Adams, Josh Ritter, David Gray, etc... I think what I love about each of those guys is that they are all much more "songwriters" than they are "musicians," and I identify with that.
I am a big sucker for epic things too, so stuff like Arcade Fire and My Morning Jacket or more classic (and classy!) stuff like Blood, Sweat and Tears and Elton John's Goodbye Yellowbrick Road or the untouchable Pet Sounds really get me going crazy. Not a huge songwriting influence, but I'm just loving the Pumpkins right now. The 90's were magical.
4. As someone who works with language, could you give us a glimpse into your writing and revision process?
To call it a process would entail an actual process... I generally have several baby songs in utero at any given time, but the gestation period is what varies. Some songs are conceived and born in a matter of hours, such as Bad Tooth. I had been processing through my mother's passing, and a picture I have of her from the last time we were together was a great touchstone for that. That one just sort of fell out in one great big piece.
More commonly, however, I will find a line that acts as the seed of a song, and out of that the song will grow, a section at a time. With the song "Both Eyes Now," the prechorus was its own little thing for months before the rest came together.
I get hung up at one verse and one chorus a lot... from there it is a matter of motivation to put in the work and find the most satisfying and most sincere complement to the existing portions of the song. That could take months or just never really happen. Sometimes I'll start Frankensteining lines together to see if the bit I had about the mall dying out will work with the lines for the girl with the Babylon neck. Honestly, I think most of the time it's about whether or not I am exercising discipline in the writing, and the rest of the time it's just my own form of alchemy.
5. From a practice viewpoint, how do you deal with creative blocks?
I find that the more sedentary I am, the less I can write. Honestly, if I watch TV for four days, I am probably not going to write a song. If I am mowing lawns for 9 hours a day, I will probably have several ideas floating around, waiting to be fleshed out. I am not a very good reader anymore, but when I make myself read I almost always find words and forms worth using. Any great story in any format will usually stir something. Repeated heartbreak is like W-D40 for songwriting. If someone loses something or someone at a great emotional cost to them and can't manifest that into their work, I don't think creative things are for them. Or maybe they are simply a more private person than I.
7. I know that a fair number of your songs are autobiographical. I also know that you want to write the best songs possible. How do you write the most ‘true’ song without getting bogged down in the facts?
I write very autobiographically, and I made a deal with myself a few years ago to only write things I really meant and stop writing crap I thought girls would like (if any of you ask to hear the somewhere over the rainbow number, this is why I won't play it), but being inside of a situation without grounding has a lot to offer for the sake of sincerity.
So, for me both perspectives are equally valuable - how a situation looks on the inside and how it looks on the outside. "Just the Facts Ma'am" may provide the skeletal structure of the situation, but the uneven and biased and completely imbalanced inside perspective can create the colors and tone. Or maybe those two perspectives, "I've moved past it" vs. "I'm still in it," are just two different songs. See "Clear Blue Sadness" vs. "Cold War Girl".
8. How can people hear your music or find out about upcoming shows?
You can jump on my email list by emailing charliehardinmusic@gmail.com and giving me your zip code. That way I can email you when I come around near you or if I'm releasing something new. You can always go to Myspace.com/charliehardin. Or become a fan on Facebook.
9. Anything else you'd like to share ?
I have an affinity for time travel. A very serious affinity. If you just want to geek out about Tipler cylinders, hit me up.
--
And there you have it folks, Charlie
Suddenly, I care about the height of the grass and the shabbiness of the shrubs. I feel the need to dig and till and plant. I want to prune.
How bizarre.
You could ask anyone I grew up with, especially my father. This is a big shift. And weird.
How bizarre.
You could ask anyone I grew up with, especially my father. This is a big shift. And weird.
I've been putting this off for long enough (something like eight months). That should tell you something.
3 of 5 lips
The Story: The daughter of a powerful politician has a suspicious automobile accident and wakes up in a hospital with amnesia. Sounds like a soap opera, right? But hold on, someone is pulling strings and injecting things into her body. Suddenly, she can steal memories from other people, leaving no trace of the original event in the witness’s mind. And the memories present her with a different past than what she’s being spoon fed at home.
Dekker's Kiss left me unsatisfied. The story was well-paced and well-executed, but I thought the co-authorship was obvious and made transitions a bit disjointed. This novel left out the expected Dekker darkness and other-worldliness that fans of the Circle Trilogy and Showdown seek. There is evil and suspense and unexplained phenomena, along with memory stealing and child smuggling, but I just couldn't find the magic.
Kiss is not a bad book. Let me make that clear. I'm not trying to say Dekker has lost his touch. Authors need to experiment and grow, explore beyond their ruts. I understand that.
I might recommend this to someone who reads more general fiction rather than a suspense reader, that’s the feel I picked up.
3 of 5 lips
The Story: The daughter of a powerful politician has a suspicious automobile accident and wakes up in a hospital with amnesia. Sounds like a soap opera, right? But hold on, someone is pulling strings and injecting things into her body. Suddenly, she can steal memories from other people, leaving no trace of the original event in the witness’s mind. And the memories present her with a different past than what she’s being spoon fed at home.
Dekker's Kiss left me unsatisfied. The story was well-paced and well-executed, but I thought the co-authorship was obvious and made transitions a bit disjointed. This novel left out the expected Dekker darkness and other-worldliness that fans of the Circle Trilogy and Showdown seek. There is evil and suspense and unexplained phenomena, along with memory stealing and child smuggling, but I just couldn't find the magic.
Kiss is not a bad book. Let me make that clear. I'm not trying to say Dekker has lost his touch. Authors need to experiment and grow, explore beyond their ruts. I understand that.
I might recommend this to someone who reads more general fiction rather than a suspense reader, that’s the feel I picked up.
3 out of 5 ain’t bad.
Max Lucado is a master of conversational writing. He invites his readers to enter into a space similar to a small group or dinner table, a non-threatening setting where he talks and you listen without feeling like a lecture or a dried up sermon. Lucado carries you with his story-telling, his gentle sarcasm, his openness.
Lucado writes about the Christian’s path through fear by opening up to the reader with tales of his own fears and his struggles through them. Becoming a parent, losing a brother, growing old. He quotes liberally from the Message Bible with a few dashes of NIV and others thrown in for taste.
And when I finished the book, I had not learned any deep transcendent truths, any mind blowing views of God. Fearless is no more or less than a reminder of the promises of God to his church. And this too has its place in the library of faith. Often, we forget what we’ve grown accustomed to. Like Henry Higgins. But then that makes Eliza Doolittle into God. Weird
I recommend this book as a gift, or for those new to the church..
Max Lucado is a master of conversational writing. He invites his readers to enter into a space similar to a small group or dinner table, a non-threatening setting where he talks and you listen without feeling like a lecture or a dried up sermon. Lucado carries you with his story-telling, his gentle sarcasm, his openness.
Lucado writes about the Christian’s path through fear by opening up to the reader with tales of his own fears and his struggles through them. Becoming a parent, losing a brother, growing old. He quotes liberally from the Message Bible with a few dashes of NIV and others thrown in for taste.
And when I finished the book, I had not learned any deep transcendent truths, any mind blowing views of God. Fearless is no more or less than a reminder of the promises of God to his church. And this too has its place in the library of faith. Often, we forget what we’ve grown accustomed to. Like Henry Higgins. But then that makes Eliza Doolittle into God. Weird
I recommend this book as a gift, or for those new to the church..
This isn't the mewithoutyou that we all know and love. No crashing melodies, not posthardcore in the least. But a ton of fun with lots of wordplay and borrowing heavily from Aesop (and other familiar tales).
Enjoy
Enjoy
This one’s for Alex.
A week ago, I wrote a piece about the need to divorce yourself from your characters. This week, I will work to remove the foundations of that post.
As a writer, I see my job as bringing truth to the table. And the most fundamental and translatable truth is experience. So the writer’s job is enhanced and enabled by experience. This can be imagined or physical experience. And the craziest part of this whole life is that the only experience I have is mine. So, every experience I imagine for my character is my experience because I have imagined or lived it.
In the most basic sense, the characters in your story are you because their experiences are yours.
A week ago, I wrote a piece about the need to divorce yourself from your characters. This week, I will work to remove the foundations of that post.
As a writer, I see my job as bringing truth to the table. And the most fundamental and translatable truth is experience. So the writer’s job is enhanced and enabled by experience. This can be imagined or physical experience. And the craziest part of this whole life is that the only experience I have is mine. So, every experience I imagine for my character is my experience because I have imagined or lived it.
In the most basic sense, the characters in your story are you because their experiences are yours.
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