She writes: “When I write fiction, I know exactly how the words should sound in my head, but it’s up to the readers to imagine for themselves how they sound. In a way, then, fiction readers are turned into actors.” One imagines a wrestling match in which readers of fiction join multitudes of film collaborators grappling to inflict their particular interpretation (to the extent they can, of course) on the final product - the movie or the novel.
The wrestling is probably most intense in the case of an actor approaching a role in a film. Molly describes her need as an actor to create a complete back story for the character she was to play. She writes: “Our job, as the cast, was to find the humanity in the stereotypes that we had been assigned... After a while though, these exercises began to feel a little incomplete. I could control only my character. Ultimately, the character’s destiny was controlled by the writer.” A battle for control of the story, alas. She extends to this: “Warren (Beatty) is another actor who became unsatisfied with only acting as a ‘gun for hire’. He found the idea of performing only in someone else’s script like squeezing into a twin bed when your body would rather unfurl in a king. That and the desire to decide exactly what a person sees is part of that control.”
Molly Ringwald, novelist, ends by describing how a friend after reading her novel presents a highly detailed description of one of the characters all the way down to the breezy hippie dresses she wore, a description that came nowhere close to Molly’s vision, I presume. She writes: “It was at this moment that I realized that writing fiction gives you only the illusion of control. Ultimately, I believe that the true collaboration involves the audience, or in the case of the novelist, the reader. These are the people who truly make the characters live.”
