We all now tell stories by cutting from one dramatic scene to the next, whereas Victorian novelists felt free to write long passages of undramatic summary.
I live for my work, apart from my family who come first. And I live to tell stories and pretend to be other people, it's something I've been doing since I was 3 years old. Maybe it's because I'm intrinsically bored with myself, and I find other people more interesting. The more different they are, the bigger the challenge.
I've come to recognize what I call my 'inside interests.' Telling stories. And helping people tell their stories is a sort of interpersonal gardening. My work at NBC News was to report the news, but in hindsight, I often tried to look for some insight to share that might spark a moment of recognition in a viewer.
I love history because when you strip away the social and political aspects, it's really just a bunch of fun stories.
I'm not someone that wants to control everything. I like to work with people that bring their talents to the project. So I like it when the makeup artist has a chance to do their work, when the dresser does their work, when the director does their work. They all come with stories and ideas to think about.
Comics as art. I do comics as comics, and my opportunity to tell stories. Simple. Basic. Let the characters have the excitement, not the package. That's where I come from.
You know, we love stories and we love narrative; we love to get lost in an author's world.
I'm a product of the 1970s, so I have a short attention span. You know, I grew up on cartoons and half-hour shows. So the stories that I'm interested in grab my attention very quickly, and they have to keep my attention.
I'm mostly a novelist these days, but I have written short stories in Fantasy, Science Fiction and horror.
I know about lots of things that have nothing to do with being Asian, that you would never guess from looking at me. I know all about musical theater. I could go on 'Jeopardy!' and knock off the whole Broadway show tunes category. Also the whole Bible stories category.
I just knew there were stories I wanted to tell.
I like to live in my own mind, regardless of everyone and everything, working out the intimate puzzles that are my stories and novels.
One of the things that I have learned since trying to bring in an interesting story in under 28 pages is that we already agree on great chunks of typical superhero stories.
I do get most of the harder-to-get stories.
What I love about the stories of the Great Migration is that this is not ancient history; this is living history. Most people of color can find someone in their own family who had experienced a migration of some kind, knowing the sense of dislocation, longing and fortitude.
There are lots of stories about my culture that I think bring a whole other perspective to who we are and where we have been and how we got here that I think need to be done.
I guess there was a little bit of a slight rebellion, maybe a little bit of a renegade desire that made me realize at some point in my adolescence that I really liked pictures that told stories of things - genre paintings, historical paintings - the sort of derivatives we get in contemporary society.
You hear stories of intense actors who can't shed their character and who don't know who they are for a week or two after. I'm not that guy, man.
So I went out and bought myself a copy of the Writer and Artist Yearbook, bought lots of magazines and got on the phone and talked to editors about ideas for stories. Pretty soon I found myself hired to do interviews and articles and went off and did them.
Times have changed since 2002 when I won a spot in the group 'Popstars.' Back in the day we would get fan letters in the mail, now you can find anyone and contact people. It's incredible how fans can have a personal connection, share photos, stories.
I have the feeling that all stories travel with an understory.
Writing 'Deadpool' can be a lot of fun. When I first started working with the character, I wasn't sure I'd like him. I quickly realized, though, that a writer can do pretty much anything with him - comedic stories, serious stories, completely nonsensical stories.
Women writers have been told, forever, that our stories were not valuable. Not as valuable as men's stories about wars, business, power.
A lot of the stories I write about have an element of mystery. They're crime stories or conspiracy stories or quests. They do have built into them revelations and twists. But the revelations, to me, come from seeing history as it's unfolding, or life as it's unfolding.
I think probably I'm quite sentimental; I like big emotional stories, I like being moved by things, but I think I'm very embarrassed by sentiment. I'm very embarrassed by corniness.
My stories are character driven.
Most of the time it's the role. Sometimes it's the story and sometimes it just the paycheck. It's the little movies that come out as stories or the fact that I have work to go out, you know what I'm saying, you can only be out so long without work, you start getting antsy.
Not exactly but I get inspiration from stories which are unconventional.
I think there's so many points of view that you want to make sure your stories are being told from men and women... you get all of the different backgrounds. You don't want every story being told from the same point of view. So just for better storytelling, I'm like, 'Yes, please, bring some more ladies on.'
I tend to lean toward strong female stories. I want to make things that don't already exist out there.
I got into writing because books and stories were always a big part of my life. I loved listening to them and then reading them, and I loved making them up.
The earliest memories I have of the ocean are actually stories - stories from my grandfather, the legendary ocean explorer and conservationist Jacques Cousteau. My passion for ocean conservation stems from learning at a very young age that we're all connected; we're all in this together.
On the red carpet, I saw all these great stories, and I also got to see the plastic surgery up close.
I'm a country boy. I hate New York. But that's where things happen, so I use it as a base for stories, I know enough about it. But I have to keep going back there.
Politicians should read science fiction, not westerns and detective stories.
People are attracted to entertainment, for sure, or jokes, excitement and romantically heightened stories that might be false, but are still attractive fantasies.
