"Creating a character and living truthfully through her is a whole different ball game. It's all part of the same person but it's a much newer medium for me"
About this Quote
There’s a quiet confession tucked inside Taylor Dane’s sportsy shrug: “a whole different ball game” isn’t just a cliché, it’s a boundary marker. Dane is drawing a line between writing about people and becoming one on the page. “Creating a character and living truthfully through her” borrows the language of acting, which is telling. This isn’t craft talk about plot mechanics; it’s about embodiment, the moment a writer stops arranging sentences and starts inhabiting a psyche.
The phrase “living truthfully” signals an ethical ambition as much as an aesthetic one. Dane isn’t saying the character must be likable or coherent; she has to feel internally real, even when the author’s hand disappears. That’s also why the pronoun matters: “her” frames character work as an intimate, specific act rather than a generic exercise. It hints at a shift toward writing women with lived-in complexity, not as symbols or functions.
Then comes the push-pull of “It’s all part of the same person.” Dane acknowledges the unavoidable autobiographical leak: every character is built from the author’s instincts, wounds, and desires. The subtext is less “I can separate myself” than “I’m learning how to translate myself.” Calling it “a much newer medium for me” places this in a career pivot - someone seasoned in one mode of writing discovering that character-driven truth has its own physics. The intent isn’t to mystify the process, but to legitimize the difficulty: voice isn’t an accessory; it’s a lived posture.
The phrase “living truthfully” signals an ethical ambition as much as an aesthetic one. Dane isn’t saying the character must be likable or coherent; she has to feel internally real, even when the author’s hand disappears. That’s also why the pronoun matters: “her” frames character work as an intimate, specific act rather than a generic exercise. It hints at a shift toward writing women with lived-in complexity, not as symbols or functions.
Then comes the push-pull of “It’s all part of the same person.” Dane acknowledges the unavoidable autobiographical leak: every character is built from the author’s instincts, wounds, and desires. The subtext is less “I can separate myself” than “I’m learning how to translate myself.” Calling it “a much newer medium for me” places this in a career pivot - someone seasoned in one mode of writing discovering that character-driven truth has its own physics. The intent isn’t to mystify the process, but to legitimize the difficulty: voice isn’t an accessory; it’s a lived posture.
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| Topic | Movie |
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