I can describe at length every feature on the character, though I might only supply a glimpse of this on the page. So if I’m writing color into that I’m also writing texture, I’m pushing the image more than anything else.
And then once I figure out who they are I can figure out what they want and once I figure out what they want I’m able to put obstacles in the way of that desire, and that’s where plot springs from.
I have a scenario but almost always it’s entwined with at least one person to begin with. Then I sort of expand from there and I’m thinking about books novels.
Writing is an act of empathy. You are occupying and understanding a point of view that might be alien to your own–and work is often the keyhole through which you peer.
You can’t teach talent, but you can teach people how to read strenuously and mimic the moves of rock-star writers so that they eventually accumulate a toolbox of skills.
I think my leap into TV and movies and comics is in a way natural because I’m a visual storyteller. If you look at any one of my short stories or novels, they sort of unscroll cinematically.
My voice dropped when I was 14. And when I was 14, I might have weighed 75 pounds. So you can imagine how strange that must have been: like James Earl Jones speaking through a sock puppet.
I can describe at length every feature on the character, though I might only supply a glimpse of this on the page. So if I’m writing color into that I’m also writing texture, I’m pushing the image more than anything else.
The High Divide, a novel about a family in peril, is haunting and tense but leavened by considerable warmth and humanity. Lin Enger writes with durable grace about a man’s quest for redemption and the human capacity for forgiveness.
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