Immersive Writing Quotes

Don't write about a character. Become that character, and then write your story.

When the writing is really working, I think there is something like dreaming going on. I don't know how to draw the line between the conscious management of what you're doing and this state. . . . I would say that it's related to daydreaming. When I feel really engaged with a passage, I become so lost in it that I'm unaware of my real surroundings, totally involved in the pictures and sounds that that passage evokes.

The goal is to be both disciplined and loose, so that the writing does not turn into a task or a chore. To leave myself behind, along with the mechanics, and disappear into the lives of my characters.

What I try to do is write from the inside out. I really try to jump into the world of the film and the characters, try to imagine myself in that world rather than imagining it as a film I'm watching onscreen. Sometimes, that means I'm discovering things the way the audience will, with character and story.

Writing a story is pretty all-consuming for me - it feels a lot like method acting, and for the eight or twelve or fifteen months that I'm working on a story, I'm constantly thinking about how my narrator would react to whatever tangled situation I'm in.

I'm not asking you to describe the rain falling the night the archangel arrived; I'm demanding that you get me wet. Make up your mind, Mr. Writer, and for once in your life be the flower that smells rather than the chronicler of the aroma. There's not much pleasure in writing what you live. The challenge is to live what you write.

Imagine yourself in the scene. See what there is to be seen. Listen to the sounds. Touch the world. Smell the air. Taste it. Use all of your senses. Then evoke those experiences for the reader. If you give the audience the flavor, they'll flesh out the moment in their own imaginations.

I know exactly what it's like to stand on top of a tall building or in a high place and look down and go, 'Ohhhh my God.' I try to get into that place every time I write a scene like that. And definitely when I write the action scenes, I get overheated and my heart goes really fast. I get very involved.

I think one of the hardest things about doing a book in the first person is that to a certain extent each day, when you begin to do your work, you're climbing into somebody else's skin.

For me, it's important that I experience and feel what the characters are feeling. So I put myself in those moments, in their thoughts, and let it happen naturally. I write what I feel.

I'm constantly being surprised and finding unplanned things - because the writing is a process of experiencing things on the ground with the characters.

I am a person of high energy. That, and I sit down and I write when I get an idea - I put other things aside.

I do research for every single book, regardless. For 'Double Dutch,' I learned to jump and learned the scoring system. For 'November Blues,' I interviewed pregnant teens. I like to get up close and personal with the kids involved in the situations I write about.

I focus on characters as individuals with attitudes and write each scene from a particular character's point of view. That way, even narrative passages take on the character's sound. I don't want the reader to be aware of me, writing.

I love writing dialogue - it's when I really lose myself in my work. I love reading it, too, when it's good and rings true.

I love writing in first person more than third. I have to basically suspend my own world. I don't exist. I'm just a conduit. So I can be eight years old. I can be the mother of a kid that you find out certain things I'm not going to say.

When I'm writing, I'm trying to immerse myself in the chaos of an emotional experience, rather than separate myself from it and look back at it from a distance with clarity and tell it as a story. Because that's how life is lived, you know?

When I'm really involved or getting towards the end of a novel, I can write for up to ten hours a day. At those times, it's as though I'm writing a letter to someone I'm desperately in love with.

You get so caught up in what you're writing - action sequences tend to do that more than anything else because you're living it, and feeling for your characters.

What I wanted was to write a memoir that was immersive rather than reflective, to resurrect a long-gone version of my own consciousness. I kept expecting that sooner or later the effort would come to seem like second nature to me, but it never did.