Edan Lepucki Quotes

With every episodic, there's a learning curve where writers try to find the voice of the characters by way of the actors. Many details are found along the way. On 'Caprica,' although the franchise already existed, we were creating an entirely new world full of new characters.

You start as an audience member and create a world you're interested in, and then you move into the telling of those stories, bringing what has interested you as an audience member.

I'm more into describing a scenario and I move around in that scenario.

I think what helps me when I'm working on a play, any play, is the degree to which the writer has truly visualized, and then fulfilled, the vision of the world that he or she is creating.

I'm a great believer in gathering together all your obsessions and seeing if you can make a novel out of them.

A work of fiction is conceived very much the same way as a dream occurs in the mind of a sleeper.

Once you get into a feature, whether it's a sequel or an original one, you have to start all over again, and you're creating a world, creating new characters. You're also tracking emotions. You're trying to create emotion and create a character that you can fall in love with for two hours.

That's the most amazing thing about writing, whether it's in prose or comics: that you can create something from nothing, and suddenly they come to life, like they've always been there.

Writers are completely out of touch with reality. Writers are a crazy person. We create conflict - for a living. We do this all the time, sometimes on a weekly basis; we create horrible, incredible circumstances and then figure a way out of them. That's what we do.

I'm very interested in writing an actual series, that doesn't have too much to do with my music - a world I create that has characters in it. I'm just trying to get there by doing things that I want to do.

Opinions on bomb shelters are personal. As for myself, I do not think I would care to be alive when all of the birds, animals, trees, houses and buildings were gone in those places where I had lived.

I don’t do apocalypse!

I wanted to learn about the worlds I wanted to write about in fiction.

I thought, because of 'The 100' and 'Apocalypse,' that I knew everything about what life after an apocalypse would be - but Ryan Murphy and the writers of 'American Horror Story' have shown a whole other side of an apocalypse.

Most apocalyptic fiction makes it very clear that it's the end of the world. But 'Bird Box' hasn't convinced me of that. Is 'Bird Box' instead a suburban neurotic nightmare? I don't think so. But it's fun to consider.

Authors make stuff up. Let's not pretend it's any more magical than that.

I may have a story idea but everything starts moving when I am able to see my characters clearly. They then organically lead or respond to the story or the universe I want to create.

I'm just making 'Threadworlds' out of the things I love and that I'm passionate about learning. When we created 'Avatar,' Michael DiMartino and I did the same thing.

The historical background is one of the easier aspects of writing a novel. Far more difficult is dreaming up the smaller, character-based scenes, scenes that rise entirely from one's own imagination.

I just love that feeling of being in another world, of creating characters and watching where they go.

Apocalypse has come and gone. We're just grubbing in the ashes.

Cry Baby is about Cry Baby and the next album [which I think I have a title for but I don't wanna say anything yet because I don't know and it's too early] is a place in the weird town that I'm trying to create and its Cry Baby's perspective throughout this album. You're not learning about her, you're learning about the place that she's in and her perspective. Down the line for sure I will think of other characters in this world.

I don't think you can teach someone how to come up with good characters or a story.

I see parody as another form of comedy. If you are making a comedy, there are a lot of different ways to do it. I'm not necessarily always aware of my quote-unquote persona when doing things like that. It's more, "What does the character need at the time?" I'm certainly drawn to certain types of material, there's no doubt about that.

In a sense, I may not consciously know what I'm doing. I feel that I'm telling a story. I'm a kind of medium by which something is transmitted.