Alexandra Bracken Quotes

All novels are experimental.

I think that if you've got 5 million people that enjoy drama and invest in characters, you must take the time to not worry about your job and getting sacked and just go for it and hit it again.

Sometimes you write and you find yourself almost wondering how it will turn out. I don't think every writer sort of almost admits that at some stage his books can take on their own kind of life it selves and simply lead away into directions that they're not kind of prepared for.

As I continue to write as M. O'Keefe, I find myself following darker story lines. Plots I might have flinched away from I now rush toward. Using sex as a tool to tell women's stories is endlessly fascinating.

If I had a plot that was all set in advance, why would I want go through the agony of writing the novel? A novel is a kind of exploration and discovery, for me at any rate.

With each book I write, I become more and more convinced that the books have a life of their own, quite apart from me.

You set up the story, but the characters start talking, and they go places that you didn't expect. You have to follow.

The thing about Marvel is that they're not - they're into real acting. They're looking for artists that are willing to take chances and are willing to create characters. Even if that character has been around for years and years in comic books, they still are depending on us to create something and take it somewhere else.

There were certain things that I tried to do on 'Karamchand.' Initially, they were hated, but eventually everyone loved the characterization.

I never limit myself when it comes to telling stories; I think people can see that in my body of work. It's just about, 'What's a great story? Is it unique? Is it a challenge?'

I think once everything is in place, once you've kind of wrapped your head around the story and the character, it's very liberating and you can start doing things like you would do.

I don't know if that's the best story for BoJack, long-term. I do love the world, and I love playing around in it and it feels like an elastic enough world that, any story I want to tell, I can tell about these characters in this world. I can talk about parents and children, husbands and wives, the troops, or Hollywood. It does feel like an endless playground at this point, it would be a shame if we cut it off early for fear of repeating the same things over and over again. But I am looking to move the story and character somewhat.

Independent film is taking risks in all areas. It's not just about complicated women.

A novelist is on the cusp between someone who knows everything and someone who knows nothing.

I find that in a novel I can get more of life, perhaps not such intense life, but certainly more of life than in poetry.

We just don't want to repeat anything that we've done in the movies [X-man] or that we're going to do in the movies. There's so many stories to tell, we just want to stay out of each other's way.

I don't believe the writer should know too much where he's going. If he does, he runs into old man blueprint—old man propaganda.

As an actress, you go where the stories are. I don't really care where it's seen, at this point. I just want to tell good stories and do good roles that I haven't done before.

There are no new stories. It all depends on how you handle them. In romances the characters are going to fall in love with each other; you know that when you see the syrupy cover. It's how get there that's the fun.

If there was no risk, it wouldn't be art. It wouldn't be worth making. There is risk even in a fairy tale. Fiction is closest to pure narrative, and pure narrative is simply the logic we try to impose on an ever-changing reality.

One gets started, and then, suddenly, one cannot remember what toothpaste they use . . . the moment comes when a character does or says something you hadn't thought about. At that moment he's alive and you leave it to him.

I'm for anything that lets writers stretch, in or out of their series.

As a writer you're holding a dog. You let the dog run about. But you finally can pull him back. Finally, I'm in control. But the great excitement is to see what happens if you let the whole thing go. And the dog or the character really runs about, bites everyone in sight, jumps up trees, falls into lakes, gets wet, and you let that happen. That's the excitement of writing plays-to allow the thing to be free but still hold the final leash.

I tried to write a TV series, and then I discovered first of all that I love writing more than anything on this earth, and that you could write exactly as well as you want to.

For any artistic person who creates imaginary people, the art is like inhabiting the life and mind of a seven-year-old child with imaginary friends and imaginary events and imaginary grace and imaginary tragedy. Within that alternate universe, the characters do have quite a bit of free will. I know it's happening in my mind and my mind alone, but they seem to have their own ability to shape their destinies. So I'm not shooting for anything. If the characters are vulnerable it's simply because they're very human.