Karl Wilhelm Friedrich Schlegel Quotes

In order to get inside their skin, I have to identify with them. That includes even the ones who are complete bastards, nasty, twisted, deeply flawed human beings with serious psychological problems. Even them. When I get inside their skin and look out through their eyes, I have to feel a certain - if not sympathy, certainly empathy for them. I have to try to perceive the world as they do, and that creates a certain amount of affection.

I started writing a novel from the monster's point of view. It has its own difficulties but, I'm ashamed to say, it's much easier writing from a psychopath's point of view than from that of their empathetic opposite.

It's my experience that people don't think of fiction writing as being as intellectually serious as other kinds of writing in academia and so without a career as a critic or essayist you can be treated as something of a spiritual medium - a fraud - for "just" writing fiction.

It seems that the analysis of character is the highest human entertainment. And literature does it, unlike gossip, without mentioning names.

Our lives are greatly enriched when we immerse ourselves in literature and spiritual writing, not because we are going to be tested but purely for the sake of enrichment.

Writing is not lying, nor is it theft. It is a journey and search for transparency between one’s words and one’s soul.

You're dead," I repeated. "So why are you in my dream?" He raised the bill of his olive drab ball cap with one finger. " Good question. Morbid, isn't it?" "What?" "Dreaming about dead peolpe. Creepy. You ever see a therapist about that?" "I'm not -" Even in dreams, I couldn't win an argument. Even when he was dead.

By reading the characteristic features of any man's castles in the air you can make a shrewd guess as to his underlying desires which are frustrated.

It is not events that disturb the minds of men, but the view they take of them.

My reason for writing stories is to give myself the satisfaction of visualising more clearly and detailedly and stably the vague, elusive, fragmentary impressions of wonder, beauty, and adventurous expectancy which are conveyed to me by certain sights (scenic, architectural, atmospheric, etc.), ideas, occurrences, and images encountered in art and literature.

As my kid gets a little bit older, if I feel like I have a little bit more time on my hands, I'd like to get more into developing ideas and writing things.

I decided that I would write one story about each thing that I knew about.

We don't work in the traditional TV format where we're like writing concurrently to shooting. Like, we really view it as a large feature film.

I don't like anything unsigned in a newspaper that purports to be the opinion of some group if we don't know who the group is. It's laughable to say that The Miami Herald's editorials or any newspaper's editorials represent any views other than those of the people writing them, so why don't we tell everybody who they are?

I have written a great many stories and I still don't know how to go about it except to write it and take my chances.

By definition it uses and plays and delights in time. It delights in the interlacing of chronologies and the consequences of that interlacing. And those have personal and psychological expressions in a character. Aside from other issues of writing, psychological characterization is what narrative can do best.

Characters take on life sometimes by luck, but I suspect it is when you can write more entirely out of yourself, inside the skin, heart, mind, and soul of a person who is not yourself, that a character becomes in his own right another human being on the page.

At the beginning of the project, I wasn't certain that I could come up with an engaging storyline and cast of characters in this world, so I had a strong bias toward actually writing, and worrying about research later. In other words, I was afraid that I'd devote a year or two of my life to grinding through Kant and Husserl, then discover that there simply was no novel to be written here.

I blundered into writing.

Because I write fiction that is based in the real world, it's going to lead people into some of the modern dilemmas and concerns and even catastrophes that they will think about in a new way.

I write songs from the point of view I had at a time;I'm not tryingto write songs from a young person's point of view.That only ends in disaster.

I think that voodoo as a spiritual tradition has been demonized for so long in popular culture. I wanted to write against that and write a character who practiced that spiritual tradition who was not evil and intent on creating zombies or causing pain through voodoo dolls or whatever.

All my plans in private life; all my pursuits; all my designs, wishes, and thoughts, have this one great object in view: the overthrow of the ruffian Boroughmongers. If I write grammars; if I write on agriculture; if I sow, plant, or deal in seeds; whatever I do has first in view the destruction of those infamous tyrants.

I think the novel, its business is the investigation of human nature.

Dissents speak to a future age. It's not simply to say, 'My colleagues are wrong and I would do it this way.' But the greatest dissents do become court opinions and gradually over time their views become the dominant view. So that's the dissenter's hope: that they are writing not for today but for tomorrow.