And so, when I was a young writer I always worked hard on imagery, and I knew that the roots of imagery were the senses - and that if my readers could feel, taste and see what I was talking about, I would be able to tell them a story.
Maybe a first love exists to reaffirm the best parts of yourself, the choices you made when you didn't worry about the consequences. Maybe a first love exists to remind you to be brave in the moment, to stand up for your feelings, instead of shrinking back in the face of potential loneliness.
Energy has to be fed from a source. If you don't feed the source, it dissipates entirely.Same is true of liking a boy. If you cut off the thoughts, if you stop pinning, you're free to find a boy who is attainable.
Isn't this the truth of any good mother? That in all of our lives. We worry only about those we brought into this world, regardless of whether they loved us back or treated us fairly or understood our shortcomings.
No one worries about you like your mother, and when she is gone, the world seems unsafe, things that happen unwieldy. You cannot turn to her anymore, and it changes your life forever. There is no one on earth who knew you from the day you were born; who knew why you cried, or when you'd had enough food; who knew exactly what to say when you were hurting; and who encouraged you to grow a good heart. When that layer goes, whatever is left of your childhood goes with her.
Everything has to be clean and orderly when I sit down to write. I have candles going, and small objects that remind me of what I am working on, or bring me into the world of the character.
I began as a dramatist in the theater, so I'm always thinking about how a story moves, what it looks like, how to engage the senses, how dialogue sounds, what feels authentic and sounds real, what's funny, how to build distinctive and original characters - all the aspects of playwriting, scene-building, the architecture of dramatizing.