Nicholas Sparks Quotes

There's a different experience when you're reading a book rather than when you're seeing something on screen. When you're seeing a movie or TV show, it's a three-dimensional experience you're in the middle of, but when you're reading something, you're suppling the reality with your imagination.

Television is a lot of fun. It's faster-paced. The schedule is really desirable, I guess. But as far as films go, and I've only done a couple; film is like a definitive beginning, middle and end. You know your character's arch.

'MotherFatherSon' was just an extraordinary read and I wanted to be a part of it.

For my part, the good novel of character is the novel I can always pick up; but the good novel of incident is the novel I can never lay down.

The way my books are structured, everyone was together, then they all went their separate ways and the story deltas out like that, and now it’s getting to the point where the story is beginning to delta back in, and the viewpoint characters are occasionally meeting up with each other now and being in the same point at the same time, which gives me a lot more flexibility for killing people.

Books are a really fun way to get yourself in a certain mindset or mood as an actress. Also, the way people tell a story is so revealing and I think it's important as an actress to see all the different ways people can unravel a story, and introduce the characters and the way people speak.

What are you reading?" Owen asks. "Charlotte's Web," Liz says. "It's really sad. One of the main characters just died." "You ought to read the book from end to beginning," Owen jokes. "That way, no one dies, and it's always a happy ending.

I fell in love with poetry through storytelling, so my poetry tends to be fairly narrative. I like characters, I like having a beginning, middle, and ending, though not necessarily in that order.

The craft of putting together a performance on film or television is incredibly intricate; you're putting together a story that is completely out of order, that you have to make some sense of, that you have to keep some coherence to the story, to the character.

Seriously, I do not know what to say of this book [ Absalom, Absalom!] except that it seem to point to the final blowup of what was once a remarkable, if minor, talent… this is a penny dreadful tricked up in fancy language and given a specious depth by the expert manipulation of a series of eccentric technical tricks. The characters have no magnitude and no meaning because they have no more reality than a mince-pie nightmare.

You learn to exploit genre for the more important things - to my mind - like story, character, image, language.

A film, since it is primarily a visual medium, should really be like a silent film. You should be able to watch something and understand what was going on and use voice when you need to communicate something you can't necessarily communicate visually. The book is the opposite. The book is an inner monologue which is beautiful.

It is easier for the reader to judge, by a thousand times, than for the writer to invent. The writer must summon his Idea out of nowhere, and his characters out of nothing, and catch words as they fly, and nail them to the page. The reader has something to go by and somewhere to start from, given to him freely and with great generosity by the writer. And still the reader feels free to find fault.

One of the best things about reading comic books, when you're a kid or an adult, is watching the characters cross-over. What happens in one book affects the other, and these shows are so tightly knit that it feels like one giant show.

When you're reading a novel, I think the reason you care about how any given plot turns out is that you take it as a data point in the big story of how the world works. Does such-and-such a kind of guy get the girl in the end? Does adultery ever bring happiness? How do winners become winners?

I don't think there is a single sentence in this whole book [East of Eden] that does not either develop character, carry on the story or provide necessary background.

I don't write [screenplay character] biographies beforehand. I usually go in knowing some sequences: this is where I want to start, this is where I want to end.

I'm not that much of a researcher. I'm good at channeling characters, and I'm good at structure.

The comic book, and I've said it before, is a treasure trove. It's a grab bag. We certainly have characters and story lines that we really want to do - but to get there in a TV series, you have to take your time. Sometimes you can't get right to it. They're two different mediums. So we make it our own and really own the material. I like to think of it as an alternate universe.

What works in a story is very different than what works in cinema. For example, dialogue in books: If you translate it too faithfully, it sounds a little stilted, because we often don't speak the way we speak in novels. Oral language is much punchier, shorter sentences.

I have a scenario but almost always it's entwined with at least one person to begin with. Then I sort of expand from there and I'm thinking about books novels. I've got these scrolls of paper that I hang up in my office and this is my idea room, my nightmare factory, and I have a big title at the top of the scroll and on the left hand side I have these character sketches on the characters, and then once I figure out who they are I can figure out what they want and once I figure out what they want I'm able to put obstacles in the way of that desire, and that's where plot springs from.

Becoming a writer can kind of spoil your reading because you kind of read on tracks. You're reading as someone who wants to enjoy the book but also, as a writer, noticing the techniques that the writer uses and especially the ones that make you want to turn the page to see what happened.

All you need to know about plotting is twofold. 1. Give your characters goals. 2. Don't let them reach those goals.

Screenplays are not writing. They're a fake form of writing. It's a lot of dialogue and very little atmosphere. Very little description. Very little character work. It's very dangerous. You'll never learn to write.

When I read scripts and when I read books, it's more of an emotional response and I was really drawn to these characters.