Christopher Nolan Quotes

Sometimes I'm asked if I do research for my stories. The answer is yes and no. No, in the sense that I seldom plow through books at the library to gather material. Yes, in the sense that the first fifteen years of my life turned out to be one big research project.

I love reading and I love thinking - the reason that I love my books so much is that in order to write them I have to read and to think for years at a time about the same period of time.

Had I to give advice to writers (and I do not think they need it, because everyone has to find out things for himself), I would tell them simply this; I would ask them to tamper as little as they can with their own work. I do not think tinkering does any good. The moment comes when one has found out what one can do - when one has found one's natural voice, one's rhythm. Then I do not think that slight emendations should prove useful.

I haven't had writer's block. I think it's because my process involves writing very badly.

My general writing preface is to write an outline and then ignore about half of it, both on a micro level with the individual book, and on a macro level with the series as a whole, and that's pretty much what's happened.

It took time to learn that the hard thing about writing is to let the story write itself, while one sits at the typewriter and does as little thinking as possible. It happened over and over again, and the beginner learned - when you start puzzling over an idea, and slowing down on the keys, the writing gets worse and worse.

You just have to keep getting out of your own way so that whatever it is that wants to be written can use you to write it.

When I'm writing columns, it's - all I'm thinking about is jokes, joke, joke, joke, setup, punch line, joke, joke, joke. And I really don't care where it goes.

If a scene or a section gets the better of you and you still think you want it-bypass it and go on. When you have finished the whole you can come back to it and then you may find that the reason it gave trouble is because it didn't belong there.

I think it's really important to not talk about how you're going to release something until you've finished it. People are like, "What are we going to make? What are we going to do with it?" and it's just like, "I don't know, we're just making music. Then we'll talk." You can't always write something you're happy with; you can't force it.

So much of writing is discovery. Sometimes I feel like a rat in a maze, trying to discover the way out. My little heart is beating, and I'm racing down a path thinking, this is the route, it will get me there, as I turn this way and then that.

I think I'm too lazy a writer to do something like historical fiction. You have to do so much research. I just write what I know.

I don't write with any audience in mind. I just write. I take a chance on the audience. That's what I did originally, and I think it's worked--in the sense that I find there is an audience.

The trouble with a lot of people who try to write is they intellectualize about it. That comes after. The intellect is given to us by God to test things once they’re done, not to worry about things ahead of time.

One of the principals of composition, I would say, in fiction, is you want to do what you can do a lot of. You want to do what you're enthusiastic about and what rings your bell. In this case, almost every decision I made was on that basis.

I stay away from the writing part because I think that if it sticks, it sticks. You just know it. The stuff that doesn't stick, goes away. The stuff that propels you forward, you can see it in your partner's eyes.

Everyone assumes writers spend their time lounging around, writing and occasionally striking a pose whilst having a think.

Mainly, I try not to think about my readers as I write - I just think of my characters and myself - If they're interesting to me, my hope is that they'll be interesting to others as well.

Writing by hand is a way of letting mystery into my writing. But I'm constantly trying to figure out how to do this job. It's a work in progress.

Write with the door closed, rewrite with the door open.

As soon as I start to write I'm very aware, I'm trying to be aware that a reader just might well pick up this poem, a stranger. So when I'm writing - and I think that this is important for all writers - I'm trying to be a writer and a reader back and forth. I write two lines or three lines. I will immediately stop and turn into a reader instead of a writer, and I'll read those lines as if I had never seen them before and as if I had never written them.

It takes me six months to do a story. I think it out and then write it sentence by sentence - no first draft. I can't write five words but that I change seven.

The good part of writing is where it gets out of your control and turns into something else. You look at it and think "Whoa, where did that come from? That wasn't what I meant to write, but it's more interesting than what I was intending. Which part of my subconscious or my experience did that come from?" Often the answer isn't clear, and often the line between fiction and fact isn't clear, either.

Man has the right . . . to play as he will . . . to think what he will: to speak what he will: to write what he will: to draw, paint, carve, etch, mould, build as he will: to dress as he will.

I craft everything in the beginning. I know where the characters are going before I start writing the book.