Debi Gliori Quotes

When you trust your subconscious enough to put something in a story and then figure out why it really needed to be there later, when that works out, aye, that's the stuff.

Writers have to be observant. Every nuance, every inflection in a voice, the quality of air, even - they all get mixed up in this soup of the story developing in our minds.

I don't stare at a sheet of paper and try to think of a good word to use. I try to see where the story should go.

The story grew, got way bigger than the contest rules called for, and next thing I knew I had a book.

I came up with new leads for game stories by being observant and clever, by using the many gifts of the English language to intrigue and hook a reader.

I don't ever want to impose something on the story. I want the story to tell me.

I love storytelling so for me to get behind a story and get in there early in its infancy and kind of develop it in the early stages was something I really wanted to be a part of.

It's a discovery of a story when I write a book, a case of inching ahead on each page and discovering what's beyond in the darkness, beyond where you're writing.

I think that instinct, that storytelling instinct, rescued me most of my life.

The way that I sort of direct the writers is, let's do the best story we can. Let's not worry about production issues. 'How much will that cost? How are we going to shoot that?' Let's not set up those constraints on the writing. I don't think it helps the project to work like that.

It would be easier to write a novel without reader input, but I feel the fiction is richer for it.

I like the story writing process. I usually use someone who has been trained for structure to take the story that I actually want, place those elements in the right places.

When I am writing anything in general, I just want to tell the story that exists in my head; I don't try to write a parable or make a point.

The secret to the movie business, or any business, is to get a good education in a subject besides film - whether it's history, psychology, economics, or architecture - so you have something to make a movie about. All the skill in the world isn't going to help you unless you have something to say.

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

The idea led me into the research, which continues to give me more ideas for the story.

So for me the approach has become to go into a story not really sure of what I want to say, try to find some little seed crystal of interest, a sentence or an image or an idea, and as much as possible divest myself of any deep ideas about it. And then by this process of revision, mysteriously it starts to accrete meanings as you go.

I've seen novels that have grown out of one story in a collection. But it hasn't occurred to me to take any of those stories and build on them. They seem very finished for me, so I don't feel like going back and dredging them up.

I love the early process of asking questions about a story and deciding which questions matter most.

I never plot out my novels in terms of the tone of the book. Hopefully, once a story is begun it reveals itself.

I am, at the end of the day, a guy who loves story.

I love building out the worlds of my fiction with fictional books.

The stuff that I learned on 'Sons,' the education of how to tell stories, was part of that mythology. It's hard to look at it and go, 'Oh, if I knew this, I would have done it this way,' because the fact is I like to think that all that sort of unraveled as it was supposed to.

I do have an innate understanding of where a story should or shouldn't go, in a way that I don't think can be taught.

I start each of my scripts by going on a journey of painstaking research and discovery, much as I do a piece of long-lead journalism.