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I love to write about sex. you just have to make it idiosyncratic. you have to have a strong comprehension of your characters, and write it from their point of view. it's really fun. it's not erotic.
-Jane Smiley
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I Love To Write About Sex. You

Jane Smiley
I love to write about sex. you just have to make it idiosyncratic. you have to have a strong comprehension of your characters, and write it from their point of view. it's really fun. it's not erotic.
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Strong Sex Fun

More From Jane Smiley

In the books by ruy-sanchez we find again the erotic conviction that allows us to read with all the skin. the erotic, in his narratives is not a subject or a phrase, it is the clay of what they are made. in his novels every experience, trivial or extraordinary, breaths through the erotic.
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One of the central flaws in the state of contemporary music is that the major record companies have failed to incorporate that simple fact into their business plans. they've come into an industry that's based on idiosyncratic artists and tried to erase every idiosyncratic aspect out of it.
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I am no fun at all. in fact, i am anti-fun. not as in anti-violence, but as in anti-matter. i am not so much against fun - although i suppose i kind of am - as i am the opposite of fun. i suck the fun out of a room. or perhaps i'm just a different kind of fun; the kind that leaves on bereft of hope; the kind of fun that ends in tears.
Fun Opposites Tears
As we grow older, we should learn that these are two quite different things. character is something you forge for yourself; temperament is something you are born with and can only slightly modify. some people have easy temperaments and weak characters; others have difficult temperaments and strong characters. we are all prone to confuse the two in assessing people we associate with. those with easy temperaments and weak characters are more likable than admirable; those with difficult temperaments and strong characters are more admirable than likable.
Strong Character Two
What interests sam mendes are characters and relationships, and he was a genius at giving you the freedom to create the type of character you want, and also to explore and have fun with your fellow actors. for him, characters and relationships are really the heartbeat of the film, and then the action is the backdrop. by developing the characters, he makes you care that much more about the action and going on a journey with the characters.
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Even in the era of aids, sex raises no unique moral issues at all. decisions about sex may involve considerations about honesty, concern for others, prudence, and so on, but there is nothing special about sex in this respect, for the same could be said of decisions about driving a car. (in fact, the moral issues raised by driving a car, both from an environmental and from a safety point of view, are much more serious than those raised by sex.)
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