Quotes About Imagination

When I was a kid I'd swing imaginary light sabers around, and now I've had the opportunity to get paid for it.

You might think about putting some heavy-duty hooks into the ceiling joists and beams so that you can have a rope ladder, or a small swing inside your house.

I swing with a lot of torque from non-fiction to fiction, and I really like that place in between.

I think a good book is one you can lose yourself in and find yourself in, and that's what I did with 'Swing Time.'

I feel like you become a songwriter when you claim that it's sort of like a switch flipped, and you're always writing. Even in your sleep, you're always thinking about it in the back of your mind. The true writing - when you're officially writing - that's just when its front of mind, but its always there. You're always listening for a hook.

I'm quite adept at writing two or sometimes even three stories at once. So if I get stuck on one story, I switch the next and let my subconscious work on unraveling any plot problems from another story.

When I was about 14, I got a splicing kit, which means you could chop up the film into little pieces and switch the order around and glue it together.

I always think it's interesting to switch genres, because if I read a script and I know exactly how to manifest a story, I don't really want to do it anymore, because I've already done it in my head.

I really can't write fantasy. I cannot invent a world which does not exist. And I can't read fantasy either. As soon as I realise I'm reading a book that hasn't got its roots in a reality I can comprehend, I switch off.

I can't relax when I'm watching a biographical drama because it's so close to what it is that I do that I just long for more fiction - so that I can switch off.

What I want is to try and get across the idea that reading for pleasure is so beneficial. And turn children on who have maybe been switched off reading or never found a love of it in the first place.

I feel like Mills and Boon saved my life. It was a way of not living. I read a lot of other books as well, but they were definitely the best for just switching my brain off, not having to deal with reality.

I was born and brought up in the countryside. I used to live in a sort of converted stables on the grounds of a castle, and I spent a lot of my childhood running around with a pretend sword pretending to be Robert the Bruce.

Even after Sword was published, I was still only thinking about the next book, Elfstones.

I read H.P. Lovecraft. I also like Sword and Sorcery stuff, Arthurian legend.

Science fiction without the science just becomes, you know, sword and sorcery, basically stories about heroism and not much more.

I was fourteen, watching 'The Princess Bride' for the 254321th time, captivated by Wesley and Inigo dueling on the cliff-top. I had never held a sword in my life, but I phoned my mum and said, 'I want to learn to fence!'

'Glass Sword' has several set piece scenes that I plotted out or visualized before I wrote them, but I always knew they were coming. They anchor bits of the story.

I love doing scenes with two actors in an elevator, but sometimes I'm a little boy, and I like swinging a sword with 800 soldiers around.

My son loves swords and shields and dragons.

I like 'The Lord of The Rings' and ninja swords.

I have made of Sydney, to which I sailed in 1965, a paradise beyond the powers of fancy.

There is a certain age at which a child looks at you in all earnestness and delivers a long, pleased speech in all the true inflections of spoken English, but with not one recognizable syllable.

In the final analysis, a drawing simply is no longer a drawing, no matter how self-sufficient its execution may be. It is a symbol, and the more profoundly the imaginary lines of projection meet higher dimensions, the better.