Lilith Saintcrow Quotes

Every story is organic, and every story finds its own ending.

To combine telling an interesting story with brilliantly written characters is the most difficult thing to do.

I like the idea of making big budget films with a heart. I like graphic novels more than comic books.

The great thing about a trilogy is that it feels like you've got a beginning, a middle, and an end.

Doing graphic novels is cool! It's fun! You get to write something, and then see it visually page by page, panel by panel, working with the artist, you get to see it fleshed out.

I've always felt that the comic strip medium stands equally beside all the other story telling mediums: novels, movies, stage plays, opera, you know, you name it.

You want to suggest something new, but at the same time, resolve the drama of the action in the novel.

In a weird way, I think I'm much better at oneshots than longform. So I try to focus on five or six-issue arcs. I have a real fondness for the one-shots because that's where I do my best storytelling.

With Groo, I try to do one story every book. Sometimes the stories are better if they go a little longer, and I choose to do it in four issues.

'Scalped' No. 1 was only the third comic script I'd ever written. I really learned a lot about writing on the fly with that series.

When I read comics, they were dense stories. When you put them down, there was a sense of having gotten a great deal from them.

The interesting thing I realized writing the 'X-Men' is I always had a sense of where I was going.

'Human Target' was probably one of the best projects I ever worked on - that and 'Dr.Thirteen.' I just appreciated how smart Peter Milligan's writing is. It was smart and entertaining.

BoJack' is a very much a format-based show. The story should always match the format, but I don't necessarily think the story has to come first.

I was not creating icons when I wrote the 'The X-Men' and the 'The New Mutants.' I was creating people.

I love writing novels, but there is something deeply invigorating about the comic-book medium.

I just use all the skills that I learned in film school, and I just incorporate them into my sketches. People don't realize that, with a story, there has to be a beginning, middle and end. There has to be a problem and a resolution. Just because it's six seconds doesn't mean it's not a story.

To just tell a story from beginning, middle and end doesn't motivate me that much.

I've been told, and I think I recognize it, that there's a cinematic quality to my writing, with a sense of image and place and scene - and, some would say, my tendency to finish my books the way Hollywood finishes its films.

I tend to like writing long stories in comics. I worked on 'Flash,' 'Teen Titans' and 'JSA' for years. I always like diving into characters.

Three children have become adults since a phone call with Jo Rowling, containing one small clue, persuaded me that there was more to Snape than an unchanging costume, and that even though only three of the books were out at that time, she held the entire massive but delicate narrative in the surest of hands.

Some of my earliest work was in comics. I tend to think in pictures and always like to write scenes possessing the dynamic you find in comics.

We grew out of the superhero comics, but we still liked comics, so we started putting our own experiences in the stories we were doing for our own amusement.

It's often the case that the most strained moments in books are the very beginning and the very end - the getting in and the getting out. The ending, especially: it's awkward, as if the writer doesn't know when the book is over and nervously says it all again.

I went to a seminar early in my career on the craft of storytelling by Robert McKee. It was really life altering. There are basic principles on how to craft an engaging story and he covers them well. He's got a book out, 'Story,' that I would highly recommend to anyone interested in improve their storytelling.