Neal Stephenson Quotes

The story is everything, so it always begins with a story.And research is a kind of scaffolding built underneath the story as I go along. My enjoyment level varies, but in general, I'm writing about topics I find interesting, so I can't gripe too much.

I tend to research as I write so that the narrative can take priority, which is important for a piece of fiction, I think, finding out facts as and when I need to.

When I start to write, I see my stories as a kind of movie. For instance, I ask myself, "What kind of opening do I want for this book?"

Every story teaches me how to write it. Unfortunately, it doesn't teach me how to write the next one.

have a much harder time writing stories than novels. I need the expansiveness of a novel and the propulsive energy it provides. When I think about scene - and when I teach scene writing - I'm thinking about questions. What questions are raised by a scene? What questions are answered? What questions persist from scene to scene to scene?

When I'm writing, I really want to satisfy myself. I've got a story that I am working on and struggling with, and I want to tell it the most effective way I can. That's really what I struggle with. And the thought of who may be reading it may be there somewhere in the back of my mind - I'll never say it's not there because I don't know - but it's not really what I'm thinking about.

I might spend 100 pages trying to get to know the world I'm writing about: its contours, who are my main characters, what are their relationships to each other, and just trying to get a sense of what and who this book is about. Usually around that point of 100 pages, I start to feel like I'm lost, I have too much material, it's time to start making some choices. It's typically at that point that I sit down and try to make a formal outline and winnow out what's not working and what I'm most interested in, where the story seems to be going.

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.

Every day, I learn something new. I think one of the most exciting things for a writer is to work on a TV show. It's like a novel. You have a really long time to develop and learn about the characters, and you can just really keep digging in deeper, every week.

Stories, as much as we like to talk about them, retrospectively, as emanations of theme or worldview or intention, occur primarily as technical objects when they're being written. Or at least they do for me. They're the result of thousands of decisions made at speed during revision.

I don't really have a drive toward being a director at all. Not that I wouldn't rule it out, but I just don't think my instincts lie necessarily in a very visual way. But I am very interested in storytelling, narrative and character development, so writing is something that I absolutely want to do.

One of the reasons I started working at 'South Park,' actually, was that I wanted to learn how to structure things and how to tell a story.

A story in your head isn't a story. It's just a daydream until you actually write it down. So write it down.

Outlining is not writing. Coming up with ideas is not writing. Researching is not writing. Creating characters is not writing. Only writing is writing.

When you do enough research, the story almost writes itself. Lines of development spring loose and you'll have choices galore.

I enjoy writing scripts. I can find out what happens. With an outline, I feel like I'm doing an architectural diagram of something.

What you're normally doing as a writer is trying to find the narrative.

A novel is a performance you have to plan.

The older I get and the more fiction I write, the more I outline, the more I think about plot before I dive in and plunge too far.

I'm one of those writers who started off writing novels and came to writing short stories later, partly because I didn't have the right ideas, partly because I think that short stories are more difficult. I think learning to write short stories also made me attracted toward a paring down of the novel form.

I write any sort of rubbish which will cover the main outlines of the story, then I can begin to see it.

Once you play with these scenes and you're outlining it, again and again, and telling each other the narrative, and telling it to people you know, trying to make sure that the mathematics of the story work, you feel that those are in place, and the actual writing and final draft doesn't take as long.

If writing a novel is a year's exile to a foreign country, writing a short story is a weekend spent somewhere exotic. They're much more like vacations, more exciting and different, and you're off.

I have also led you astray by talking of technique as if it were something that could be separated from the rest of the story. Technique can't operate at all, of course, except on believable material.

Sometimes I'll have a scene that strikes me, I just feel like writing a scene, a mini-story that seems like it might lead somewhere. But that is such a tentative, fishing-hook way to go about it that these days I've found it's easier to kind of at least have your concept and start attaching things to a skeleton. So I try to find the armature, the kind of backbone of it first that you can start to hang those scenes on.