I actually thought 'Desperate Housewives' finished very well. I just think there's still stories to be told. I feel like I get that from fans that they weren't done watching those people's lives.
Ancient societies had anthropomorphic gods: a huge pantheon expanding into centuries of dynastic drama; fathers and sons, martyred heroes, star-crossed lovers, the deaths of kings - stories that taught us of the danger of hubris and the primacy of hu...
I like straightforward names for my characters. When I get too symbolic with names or places, I start feeling like the characters and the story are less read, and I lose interest.
One of the things I've found most challenging about writing a multibook series is keeping it fresh and evolving while still delivering the familiarity that keeps longtime fans devoted to the characters and story world.
The big influence on me was Robert Altman, who, especially in 'Nashville,' transformed my sense of dramatic structure and showed how you could handle overlapping stories.
Stories of Fantasy are nothing more than the retelling of our own triumphs and sad, sad tragedies ... Tod Langley I have that painted on my office wall and love to stare at it.
My own books drive themselves. I know roughly where a book is going to end, but essentially the story develops under my fingers. It's just a matter of joining the dots.
My uncle who helped in a big part of raising me from when I was young, had moved from California, and would just tell me these legendary stories of these motorcycle clubs that he was around and that he used to ride with.
At MTV, although the audience is smaller, I found it more interesting to deliver news to a specific group of people, because my story then did not have to try to be all things to all people.
Online, you have things like Slate Magazine, which has a lot of commentary and analysis of stories, so it gives you a fuller picture. I would compare that to a news magazine or the New Republic.
The characters in my stories, whether historical or fictional, usually prove to be a compilation of influences taken from differing sources, but never drawn from one model.
I'm interested in working with groups of actors to tell complicated stories about what's happening to people, and that's because I came out of the theatre where I worked in ensembles, and I really loved that.
I tend to tell stories that have a lot of momentum; it's not like 'and then months later...' I like things where the momentum of one action rolls into the next one so everything is the sum of that.
As we saw in the Queen's Speech, anti-social behaviour - a phenomenon that I believe to be a genuine worry that is also being fed by a lot of scare stories - is the political theme of the moment.
So usually even if you like a sentence or a story or something, it won't come out that way - it'll come out years later, and in a different way, and you don't really control that.
What greatly annoys me is sometimes you see the short story being described as a training ground for the novel. Kind of like an apprenticeship. And in lots of ways, it's a far harder form.
You hear all these stories about, 'There's one in a million guys that make it to the NBA and stay there.' To see people cheering for me and when they say my name, it's just crazy. It's still crazy to me.
As an actor, I'm my own worst critic, but after awhile, really, when you watch 'Moonrise Kingdom', it's such a fantastic film that you sort of get sucked into the story, and then you kind of forget about everything else.
I know as a consumer I want a story. I want a defining - I don't want just an album full of singles. I want to get to know the artist beyond what everyone else can hear on the radio.
I looked westward and marveled that, somewhere over those mountains, Kabul still existed. It really existed, not just as an old memory, or as the heading of an AP story on page 15 of the San Francisco Chronicle.
I love clean sheets. It's the simultaneous reminiscence of how they got dirtied to begin with, and hopeful anticipation of what stories they will live to tell next time you are standing fatefully in front of the washing machine.
