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Title empathy and talks different characters and alleviate

But, that said, I go very, very far in, and love these people, am these people, inhabit them. Realize that every person I write about is some aspect of myself.

Three Kinds of Empathy: Cognitive, Emotional, Compassionate

Intro to Ann… One of the great things about doing this podcast is that I get to talk with some of the most interesting people in the world all about my obsession. I think you could say that at the heart of communication is empathy — the ability to take on the perspective of another person.

Novelists are especially good at this, and there are, I think, few novelists as good at it as Ann Patchett, my guest on this episode. I talked with Ann, the beloved — and award winning writer — at our studio in Manhattan. I wanted to talk to you a little bit about empathy because it seems to me empathy is at the heart of communicating and relating.

And you write these amazingly engaging novels, which fit right into the theory that a lot of people have about empathy, that a good way to develop your title empathy and talks different characters and alleviate is to read novels? I agree with that. That, I think, with fiction, you have a more empathetic experience: Does that follow what you think? But do you wind up having sympathy for the villain? Look at the mother I had. No really, hear me out, because I do think that what happens, with me, is I become too sympathetic and I lose my edge because I am treating my villain tenderly.

Oh that was my favorite. He was the one I loved. I mean my idea of … not even my idea of villainy, but the manifestation of villainy in my books has more to do with a woman who just bluntly speaks her mind. The wrong fork at dinner! But you know you raise an interesting question about empathy.

There are salesman who do the same thing. There are politicians who do that. You just get drawn into sympathy. I just get pulled into it. And I reviewed it; I never review books. So I only read this book because I was reviewing it. I think it was eight or nine hundred pages from the point of view of Marilyn Monroe.

But it was an amazing experience because I truly felt, by the end, that I had been stuffed into that dress and those shoes, and I was having to look at the world through those false eyelashes.

Well she appropriated the public figure of the cartoon of Marilyn Monroe, but then filled it with her own humanity, it sounds like? It was a very, very harsh book, but an interesting experience and a sort of a fork in the road, artistically, for me, where I saw the power of really putting the reader into a character. How far do you go with the characters?

Ann Patchett on Novelists and the Sources of Empathy in Story

If you learn how to write, and how to do the work, and you treat it like a job, then it is available to everyone. I believe they happened to somebody, someone, sometime, or could easily. What … how does that work? It works really well. I wrote that scene when I was, probably, 26 or 27 years old, and I knew nothing about anything that was going on in that scene. I mean the whole thing, I made it up. And then, at the end, I went back and I did my research.

  • Others have suggested that fiction increases empathy because people who read a lot may be more attuned to social nuances ; fiction consistently simulates real-world social landscapes;
  • It comes up more than once;
  • But it is not the watching child you run to.

I find that … And, actually, I got an awful lot of it right. You want to work a really interesting fact, in, that has no business being in there, and you get completely misled from the emotion of the scene and from the characters. Also the only thing research teaches you is how much more research you have to do. You have to do your research up front?

I approach every acting job with the challenge of creating a whole new system of acting, whole method, pretty much. No one can play this except you. And then I found out more about it, it was even uglier as a person. That was a case of figuring out why I was entitled to get what he wanted, which was the destruction of Howard Hughes. What I remember about that … your part in that movie, I remember the fish. When I offer him fish. Of the whole movie, those fish are what stick in my mind.

That was a great scene. I love that scene. We just beat Germany in Japan. Who the hell are you? And it reminded me of when I was title empathy and talks different characters and alleviate young actor, I used to improvise lines in rehearsal that would wind up in the play, and it gave me confidence about [00: If you improvise a great line in the play and then later on they publish the play, do they put your great line in there?

But what interests me about you and improvisation is I find you so improvisational and able to go in any direction in an interview. Do you write that way? How much improvisation is in your writing? How much is thought out in advance? Well it all depends on how you look at it. It depends on how you do the math. It has three sections: Why do you wait? Which is a very old fashioned concept: But I love plot.

  • It comes up more than once;
  • When we come back… Ann talks about whether most men prefer fiction or non-fiction;
  • That came so good and fast;
  • How do you do it?
  • Finally, stories can be used to break down bias, cultivating the awareness that superficial and exploited differences like race are nothing compared to our commonalities.

But I wanted to read this wonderful passage. You were talking about, a moment, the words really struck me. It does me, anyway: He sat down at the piano to play and thought about his family. He could imagine them sleeping and he put that into the nocturne. He touched them as if he meant not to wake them.

And, you know, I have zero memory of that. Good … good job Alan!

Wired for Empathy: How and Why Stories Cultivate Emotions

When we come back… Ann talks about whether most men prefer fiction or non-fiction. Now back to my conversation with Ann Patchett. Do you find when people come into your bookstore, which is called Parnassus? The non-fiction is on the right. And couples come in and they just divide all day long: I want to be swept away.

I want to be taken out of my life.

Ann Patchett on Novelists and the Sources of Empathy in Story

But is that your impression, too, that women tend to be more empathic? And I think that men tend to be more analytical. I want to use my time to learn.

  • I know you make the attempt;
  • To me this helps explain the success behind storytelling projects like StoryCorps and The Moth.

I want to have fun. It has to be alive. Do you think you can teach a writer to write? Can you help a writer be better? I know you make the attempt. Are you successful at it? How do you do it? I can teach anyone how to be a better writer, yes I can. I can- Alan Alda: I can teach anyone how to be a better writer.

I can show you how to take out the extra words. I can show you how to do dialog. I can show you the importance of plot. I cannot teach you how to have compassion, or an interest in mankind, or the ability to listen carefully and be engaged: I had a teacher in college, Grace Paley, who I adored.

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How did she do it? She took us to a lot of protest marches.