Orphan Black’s Felix on acting (and Ron’s take on writing fast)

I went to lunch with a “new” writer last week. She’s very good but, being new, she’s still feeling her way around (which makes her just like everyone else, but we won’t tell her that now, will we? We’ll just let her figure out we’re all pretty much clueless on her own. Believe me, it’s just better this way).

We talked about her work at some detail. Along the way we eventually got to the topic of writing speed and quality—which I admit is a topic I almost hate to get into with any writer, better yet a new one. That said, my pet theory is that most people who think “fast writing must be bad writing” are confusing prose and storytelling. They’re pre-judging the quality of one’s prose. That also said, I also propose that there are writers who, when they write fast, require quite a bit of editing, and others who do not. None of that matters, though. Not to me.

The main reason that I am a proponent of writing quickly is that I find I am at my most creative when I’m “blazing along.” My stories move differently. They breathe in ways they don’t when I’m plodding.

In other words, when I think of writing quickly, I think more about “art” than about prose. These are two different things. Really, they are.

Let me try it this way:

Almost every story I’ve written that I’m deeply proud of has been fundamentally written in fast bursts. Some have needed considerable editing later, others have needed considerable re-drafting (which is different). Others have been pretty much fine as is, given basic copy-editing, of course. But the reason they are “good” to me is that they have the most of me in them. Not “me” as in my personal framework, but “me” as in I have felt like I was in the moment as I wrote them. I know the characters, and in fact, the characters are (to me) very real. Sometimes maybe too real.

I’m thinking about this because I recently read an interview of Jordan Gavaris. This is the guy who plays Felix on Orphan Black. I am a very big fan of the show and think that, while Tatiana Maslany deserves every accolade she’s getting, Gavaris has an equally interesting challenge playing such an overtly gay character and playing off multiple clones. I think he does a remarkable job. But that’s not why I’m talking about this interview.

I’ve taken at times to saying that good writing probably has at its root a lot in common with good acting. Both, I think, have to get into a headspace that matches the moment. Both, I think, require being able to let someone who is not you take over your inner self—but both also require your inner self then to rise up and make a statement in some way. It’s strange. But Jordan Gervais has a couple moments in this interview in which I went: um … yeah, that’s it.

Here’s the first:

But that scene in Cal’s cabin changed everything. “That scene was the beginning. That was the ‘Oh fuck,’” Gavaris said. “That was the door. That was the entrance. That’s when I knew it wasn’t about performing, it wasn’t about mechanics; it was about having an experience and the cameras just happening to catch it. The prospect of those experiences is why we [act]. The prospect of the moments where we go, ‘Oh wow, I didn’t know I was going to do that.’ When the scene really works, you’re swept away. The scene plays you. You’re not there. You’re not in control. Half of what you’re doing doesn’t make sense. You’re telling a story with your instincts, your experiences, your impulses, your unbridled and uninhibited impulses; you’re telling a story with all those different things, and that’s what you hope for. That’s what I hope for with this show: more and more experiences that reveal something about me, to me, that I didn’t know.”

Here’s the second:

“For me, acting is not about lying. Yes, you’re playing pretend, we’re very aware that none of it is real, but it’s a series of psychology tricks to get your brain and body to believe that what’s happening is real. And when you believe it, you share a great deal of yourself in the process, because you’re sharing your own experiences, you’re sharing your own feelings, you’re sharing ugly truths about yourself — you know truths that are not always pleasant to reveal, you know something about selfishness, ego, narcissism, psychosis, anger, rage, and on the other end of the spectrum, you know something about love and joy and passion, and you get to reveal all of those things too.”

For me, this is the value of writing quickly. Writing quickly unclutters the brain of a bunch of stuff, and when I’m just plowing along, I often find myself in this weird headspace that matches the quotes above.

Which makes me quite happy.

I mean, who can’t like Felix, eh?

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