Quotes About Story

You're following your track, the story, your only plan, your map for the audience, and all the other stuff is, like, the fun stuff: the costumes, the locations, the set-dressing and the actors. They can all be variable as you like if you stick - however roughly - to the path.

Readers will stay with an author, no matter what the variations in style and genre, as long as they get that sense of story, of character, of empathetic involvement.

I think about Shakespeare. Because there have been hundreds of variations of Shakespeare's plays since they've been written, and I believe it's because they're important. They're still relevant today. 'Roots' is still relevant today. The idea that we shouldn't tell this story again is very strange to me.

As a director you have to live and breathe that one story for 8 months completely. I like variety, if I write extensively I get a writer's block so I do something else to beat the boredom and then get back to something I've already done.

Most academic historians accept that historians' own circumstances demand that they tell the story in a particular way, of course. While people wring their hands about 'revisionist' historians; on some level, the correction and amplification of various parts of the past is not 'revisionism' as it is simply the process of any historical writing.

I've had various experiences where I've been called by Hollywood studios to look at a script or comment on various scientific ideas that they're trying to inject into a story.

Readers want a story, not a pattern. It's the specifics of a story that make it really ping our various reader radars.

Because I really love tax, tax topics actually feature quite a lot in my fiction of various lengths. I once wrote a science fiction short story centered around the idea of an alien tax code, and the idea that you can understand a society by parsing its tax code.

My research process doesn't vary much. I do a little reading to establish a timeline and decide how I'm going to approach the story.

I think it's important to recognise that 'The Da Vinci Code' opened up a vast new audience for a general readership interested in historical detective stories and research into history.

Understand 'Minecraft,' and you'll begin to understand the power of games. Like any good story, this one begins with a man and a dream. Markus 'Notch' Persson first started on the project to create a three-dimensional world vast in scope, with elements that allowed you to customize your character into the way you want them.

When I moved to Beijing in 2005 to write, I was accustomed to hearing the story of China's transformation told in vast, sweeping strokes - involving one fifth of humanity and great pivots of politics and economics.

Rush Limbaugh, we expect nonsense from him. But the Vatican, that's another story. When the Vatican is so threatened that it launches attacks on nuns, well, you know what they say in politics, a hit dog hollers.

'The Post' is a fairly fusty place when it comes to profanity. If a reporter tries to get a bad word into a story, the word is usually forwarded to top editors, who consider it with the gravity and speed that the Vatican applies to candidates for sainthood.

When I was in grad school, I wrote one early story that was Vegas, and then I stayed away from it. I was trying to expand and do different things. I knew I would write about it, but I stayed away for as long as I could.

'Behind The Candelabra' is an HBO movie. It's the Liberace story. Michael Douglass and Matt Damon. I play a small part in it. I play a choreographer who introduces, brings Matt Damon to Las Vegas for the first time.

I was in Las Vegas, and there was a exhibit of King Tut's tomb, and it was an audio tour. At the very end of that, I just thought it would be a really cool structure for a novel, but I just didn't have a story to go along with it.

'Comic book' has come to mean a specific genre, not a story form, in people's minds. So someone will call 'Die Hard' a 'comic-book movie,' when it has nothing to do with comic books. I'd rather have comics be the vehicle by which stories are told.

The job of the screenplay is to identify and extract the essence of the story from the novel and reconfigure it for the screen, maintaining its essence in a different vehicle.

'Automa' is probably my first sci-fi story. It's not hard sci-fi but more in the 'Terminator 2' vein.

Readers anticipate that a significant element of every story will be additional exposure to the ways of the Ojibwe. The truth is that I enjoy this aspect of the work. Although I have no Indian blood running through my veins, in college I prepared to be a cultural anthropologist, so exploring other cultures is exciting to me.

'Bombay Velvet' is my first film in a trilogy about Bombay, before it became a metropolis.

We're definitely planning a huge world with this 'Venom' story, and we want to be able to satisfy our own desires and the desires of our fans to explore all of the beloved characters from the universe.

All in all, I'd like to venture into film. Films are my staple diet, so I would love to be part of a feature film, independent film... it all just depends on the story and the people behind it, really.