Erin Morgenstern Quotes

'Pied Piper' came to me all at once; I wanted to do a fairy-tale movie with some edge, but not 'dark,' per se.

To begin with, I want to tell a good story, a story that people will listen to and that they'll think this is true, even if it is a story that might be defined as - as myth or legend or even fanciful.

When I was little, I made up my own fairy tales, and the ghostly echo of 'Once upon a time' shapes all the fiction I've ever written.

I have been writing fairy tales for as long as I can remember. Not much has changed in terms of my natural attraction to the narrative techniques of fairy tales. My appreciation of them in the traditional stories has deepened, especially of flat and unadorned language, intuitive logic, abstraction, and everyday magic.

Fairy-tales are nice.

I loved the idea of a book of fairytales meant especially for peculiar children, and I love even more the idea of making that fictional book real.

I love fairy tales.

Well, Company of Wolves was about that literally, about fairy tales.

I was a great reader of fairy tales. I tried to read the entire fairy tale section of the library.

I don't feel there's a difference between the real world and the fairy-tale world. They contain psychological truths and, I guess, projections of what the culture that tells them thinks about various things: men, women, aging, dying - the most basic aspects of being human.

What I personally gravitate toward tends to be fantasy, medium dark - not too dark - fairy tales and sci fi. Stop-motion takes something on the page that's really dark and adds a little sweetness to it, a living toys realm.

As a child, I loved fairy tales because the story, the what-comes-next, is paramount. As an adult, I'm fascinated by their logic and illogic.

When I wrote the eight fairy tales that appear in 'Horse, Flower, Bird' I was working toward a completely new form of artistic expression, trying to create a new kind of tale that also felt vintage: innocent and childlike, but haunted. I tried to write a picture-less picture book.

The words 'fairy tales' must accordingly be taken to include tales in which occurs something 'fairy,' something extraordinary - fairies, giants, dwarfs, speaking animals.

I don't know what to think about magic and fairy tales.

At the end of the day, it's about the reader's attachment to and belief in the magical elements that make or break magical realism.

I came on board 'Clown' because it was a very simple story, and it was a very nice script and a very refreshing take on a kind of The Brothers Grimm fable, you know?

From a tale one expects a bit of wildness, of exaggeration and dramatic effect. The tale has no inherent concern with decorum, balance or harmony. ... A tale may not display a great deal of structural, psychological, or narrative sophistication, though it might possess all three, but it seldom takes its eye off its primary goal, the creation of a particular emotional state in its reader. Depending on the tale, that state could be wonder, amazement, shock, terror, anger, anxiety, melancholia, or the momentary frisson of horror.

I love stories, I love myths, I love fairytales, I love Kafka.

The tales of Elfland do not stand or fall on their actuality but on their truthfulness, their speaking to the human condition, the longings we all have for the Faerie Other.

I'm fascinated with the stories that we tell. Real histories become fantasies and fairy tales, morality tales and fables. There's something interesting and funny and perverse about the way fairytale sometimes passes for history, for truth.

Our literary culture is marinated in deep traditions of the fantastic and the supernatural, and we export those rich qualities in films and books on a spectacular industrial scale.

Fairy tales are really violent, the original ones.

All of my work is influenced by fairy tales, and I hope my work shows Hans Christian Anderson's influence.

Dragons and bridges are very much something out of fairy tales and fantasy.