In life, finding a voice is speaking and living the truth. Each of you is an original. Each of you has a distinctive voice. When you find it, your story will be told. You will be heard.
The best sci-fi stories use the fantastical to remind us of the reality of who we are today, the hope of who we may become tomorrow, and the shame of who we were yesterday.
I never plan my novels because if I know what is going to happen, it bores me rigid. I let the story tell itself.
I happen to go for the simplest, most ordinary things. The extraordinary doesn't interest me. I'm not interested in psychotics. I'm interested in the person you don't expect to have a story. I like Everyman.
I just wanted to compile these stories about growing up with my father and I wanted people to be able to enjoy them individually, but also the entire book as a whole.
The biblical account of Noah's Ark and the Flood is perhaps the most implausible story for fundamentalists to defend. Where, for example, while loading his ark, did Noah find penguins and polar bears in Palestine?
Sometimes that's a year, sometimes it's 18 months, where all I'm doing is taking notes. I'm reconstructing the story from the back to the front so that I know where the front is.
Writing a novel is actually searching for victims. As I write I keep looking for casualties. The stories uncover the casualties." (Interview in , Eighth Series, ed. George Plimpton, 1988)
Neurologists say that our brains are programmed much more for stories than for abstract ideas. Tales with a little drama are remembered far longer than any slide crammed with analytics.
When I'm watching television or a movie, I like to see stories that are extraordinary. I don't need it be something that is, 'Well this makes more sense to me because I can see this happening to me, or this happened to me.'
When I sit down to write, I don't think about writing about an idea or a given message. I just try to write a story which is hard enough.
From 'The Sandman' and 'Black Orchid' to 'Whatever Happened to the Caped Crusader?,' Neil Gaiman has provided some of the most memorable stories of the comic book industry.
There is the intent of the writer and the interpretation by the artist. What the writer intended and what the artist interprets is not a 1-to-1 translation. It's a crossing of ideas that generates the stories that you see in print.
As a filmmaker, I'm very collaborative. I don't pretend to know everything that is needed to make a movie. What I like to do is get together with a group of people, starting with developing the story and bounce around ideas.
I want to give people theories, I want to expose them to scientific stories that force them to re-evaluate the way they use these three pounds of meat inside their head.
The major tragedies in life, there's just no compensation. But the minor ones you can always write about. It's my way of dealing, and it's a heck of a lot cheaper than psychiatrists. The story, you see, will get you through.
I think the genre of comics sometimes overtakes the medium, and people assume that they are kind of frivolous. If you have a good, strong story teller, they can be as affecting as any character in literature. Period.
[last lines] Sheik's Great Grandson: So, these two men from your grandfather's stories, they really lived? Adult Walter: [wistfully] Yeah, they really lived...
The universe has a much greater imagination than we do, which is why the real story of the universe is far more interesting than any of the fairy tales we have invented to describe it.
I find my characters and stories in many varied places; sometimes they pop out of newspaper articles, obscure historical texts, lively dinner party conversations and some even crawl out of the dusty remote recesses of my imagination.
If there is a book that the script came from you have to read it, you have to see what you can get out of it: mood, back story and things that may not even be in the film. They kick off your imagination and broaden the character, I think.
