Matt Bomer Quotes

I do like to wrap things up and leave some things to the readers' imagination.

I'm the sort of writer who likes to leave doors open for readers.

I like to end stories where the readers have a little room to run. They can resolve things as they like in their own mind.

In Japan they prefer the realistic style. They like answers and conclusions, but my stories have none. I want to leave them wide open to every possibility. I think my readers understand that openness.

The gift of a writer as good as Dickens is not to explain everything; that way, the reader has, in terms of their imagination, somewhere to go.

I like stories that leave you wanting more, leave you wondering, but don't tell you everything.

I think there are certain questions that get asked in comics over and over again, and people want definitive answers, but I feel like there shouldn't be definitive answers.

I want there to be hints of narrative everywhere in the image so that people can make up their own stories about them. But I don't want to have my own narrative and force it on to them.

I never 'say' anything in my work. I invent a world. Let others decide what is being 'said'.

That's the thing with 'Lost': you can put a spin on so many things.

Literature is the question minus the answer.

I try to avoid describing one interpretation of my books. Of course I have an opinion. I have things I want to say, but I don't ever want to limit anybody, to have them say, 'Oh, he said this, so that's what it's about.' I'm happy people bring their own stuff to it.

I think writers like to see how people bring their words to life, and it's always surprising. Always, no matter what, whether it's good or bad, it's always surprising because a whole human being is coming to that piece of writing.

If there's a story I absolutely cannot tell without faster-than-light travel, then I am quite prepared to accept it - even though I don't personally believe it is possible.

Oftentimes I deliberately put ambiguity into my books so that... the reader is left with an echo of: 'How much of this was from me?'

Listen, real poetry doesn't say anything; it just ticks off the possibilities. Opens all doors. You can walk through any one that suits you.

I don't have a great eye for detail. I leave blanks in all of my stories. I leave out all detail, which leaves the reader to fill in something better.

I like it when stories are left open.

If you judge everything by how photographically real it looks, then you're missing out on a lot of what art is about and what communication is. There are ambiguities in life, and that should be reflected in art, cinema, and storytelling, I think.

I think once you write fiction, you put it out, and it can be interpreted in a variety of ways, some of which are going to be shocking to the writer.

A lot of people don't give their audiences credit. You can leave it a little mysterious. They can think about it.

People get excited about things like 'Swan Lake' because they generate a personal involvement. If you set up the story properly, audiences respond to the ambiguity. People ask, 'What exactly is happening in Act Four?' and I never say. I can't put it into words, but they've got a feeling about it, and that's good enough.

One of the things I like so much about 'Goodnight Moon' is the way it leaves room for ambiguity.

To put it simply, I'm not interested in making comfortable films, and I don't want to crush the audience's imagination. I want them to feel like they might have missed something.

My imagination doesn't require anything more of the book than to provide a framework within which it can wander.