Quotes About Imagination

When I was a child, I was certain that I could remember what it was like to live on Venus; I could remember what it was like to live in the American Plains. I could remember. And it's ancient memory. We all have it. It's just that some of us access it more than others.

I did not want to write a story about the invasion of Earth, so I had to create a race capable of living nearby, which meant to either on the Moon, on Mars, or on Venus. I picked Venus.

My best friend Rosemarie and I had a very involved secret life when we were in elementary school. After we saw 'The Day the Earth Stood Still' on TV, we invented a whole secret life in which we were twins from the planet Venus, and we were in charge of the entire solar system as well as Earth.

A lot of the science fiction that I grew up reading was written when we still thought that Venus might be an oceanic planet.

If you think of any past artist, there was something that they looked at that inspired them to make their most famous pieces, whether it be the 'Mona Lisa' or 'Venus Rising.'

Like, no, I can really be queen of the universe. I can be president. I can be, I don't know, an alien from Venus. Like you could just seriously... and that's the fun of acting.

It gives me confidence to know that what I'm writing has a veracity of its own without me having to invent it. When I'm writing fiction, I must believe it to be true, or I can see no point in it.

Picture books are the distillation of an idea, and you have to use just the right words. I love that, and I try to use a lot of action verbs.

A poet is a professional maker of verbal objects.

I started out as an artist, and what I do is verbal paintings. I paint a picture. Hopefully, you'll see the characters and what they're doing and what they're saying.

We are incapable of leaving anything to the imagination and loath to leave anything out. Maniacal thoroughness has become our national verbal ideal.

I was not big on playing house. I preferred make-believe that revolved around adventure, featuring pirates and knights. I was also domineering, impatient, relentlessly verbal, and, as an only child, often baffled by the mores of other kids.

I like to have books around to give me ideas-to get the verbal part of my brain to start working.

I say that glorious prose is a fine and laudable thing, but without an enthralling story, it's just so much verbal tapioca. Simply put, the best books have both, and the best writers disparage neither.

To be an animator you have to be able to tell stories but I'm not very verbal - I definitely do it through pictures.

The past is open to all sorts of magical possibilities because it can't be verified. It's as we make it, so it seems to be entirely free. It seems to be completely up for grabs. But of course it's not.

Sometimes, in a fictional story, you can be more honest and truthful, actually. As a journalist, you're a prisoner of the data, in effect. You have to tell the story with evidence you can verify.

I'm really trying to stop setting my plays in this one fictional town in Vermont.

In 2009, I began creating 'Waterworks' with the new vernacular coming from the 'Signs of Life' work in Las Vegas.

I really like dating stories, like in Betty and Veronica comics; I like David Lynch and H.P. Lovecraft for the dark gut-wrenching stuff, and I'm inspired by Miyazaki's films for the subtle heart-warming moments, as well as the moments that blew up my imagination.

I started my career as a novelist. 'Veronica Mars' was first imagined as a novel.

One of the many pleasures of 'Versailles' is the way in which it seems to emanate not only from the vexed inner being of Marie Antoinette but from the interstices between what we imagine of her and what she was.

Each memorable verse of a true poet has two or three times the written content.

I've written many extra verses to songs that I learned to sing - an extra verse about a friend, or just add some verse - and that led to writing my own songs.