Lois Lowry Quotes

I never try and send messages through my feature films; it's always naturally woven in and comes through on its own, as that's the way I think about society.

In speaking, for convenience, of devices and expedients, I did not intend to imply that Shakespeare always deliberately aimed at the effects which he produced.

For me, my writing benefits from my experience.

How I work is that I write a story I'd like to read. Then you fly to Paris or Sydney and the interviewers talk about the greater significance of your work.

I hardly remember how I started to write poetry. It's hard to imagine what I thought poetry could do.

I wouldn't like to be a character in one of my books!

I suspect there are two kinds of novelists. Those who have a point of view and have something to say and then write a novel in order to say that thing, and those of us who write the book in order to find out what we think about that thing.

The attitude that nature is chaotic and that the artist puts order into it is a very absurd point of view, I think. All that we can hope for is to put some order into ourselves.

The first book you write because of the way it makes you feel. The second one you can't help but wonder how it's going to make the reader feel.

I consider criticism merely a preliminary excitement, a statement of things a writer has to clear up in his own head sometime or other, probably antecedent to writing; of no value unless it come to fruit in the created work later.

If you love a book you tend not to follow its surface value, you follow the other things in it.

A lot of the time writers are just sponges... for what's around them, and so books are helpful for focusing your mind and literally putting it into words.

I have an investment in the signifying aspects of the material as well as an understanding of antecedent bodies of work. That informs the way I make marks and make decisions.

As a writer, I'm not convinced that we are the best equipped to understand how we go about the business of literary production.

Acting, believe it or not, can get very self-involved! I feel fortunate to have been able to work on things with people who have a very specific point of view and perspective, and who feel like they're doing something very active.

I'm incapable of writing without social commentary. I like to think that it's integrated and not really heavy handedly didactic.

The writer needs to react to his or her own internal universe, to his or her own point of view. If he or she doesn't have a personal point of view, it's impossible to be a creator.

I don't know if a novelist ever fully detaches him- or herself from what they wrote and the way they wrote it. I can watch 'Presumed Innocent' again and again, and I will always be bothered by the same things that will never bother anybody else.

I make a film - and once I've made it, everyone comes along and says 'Ah! This is a film that's political, or social', or whatever. But I'm not telling the story that they see. I made a film, told a story, but I wasn't thinking about exactly what it all meant.

All of my books come from something that I happen to be working out at a given point in my life. It's kind of self-therapy.

When I'm writing a novel, I'm usually just trying to write about things that are interesting to me.

I seldom deal in symbolisms; if there be hidden meanings in my verse, they are there without my knowledge.

When you make illustrations, you're supposed to have a subtext; you're not just communicating words - you're actually adding another story altogether.

I write out of my intellectual experience.

It's funny: sometimes with 'Spaced,' people would try and read too much into something I'd done, with the references meaning something more than they do.