Kristin Gore Quotes

The theater of the mind is impossible to compete with, and I like the idea that with a few suggestions, each reader forms in his or her own mind what a character or a place looks like.

You put books out into the world, and people form their own visuals and images and attachments to characters; those characters become part of them, and they have their feelings about them.

The experience of reading a book is always unique. I believe that you render a version of the story, when you read a book, in a way that is unique and special to each person who reads it.

When we read a book, we have a blurry image that's kind of physical but blurry. But we have an emotional image also. We have an emotional connection to the character.

I think for anybody reading the book they're going to get an idea in their heads of all those characters, and I think that once that gets fixed, it's quite hard to shake.

I think writers like to see how people bring their words to life, and it's always surprising. Always, no matter what, whether it's good or bad, it's always surprising because a whole human being is coming to that piece of writing.

I love the possibility that anything can happen in any moment with acting. That you have the opportunity to experience lives and adventures that you may not have otherwise.

I don't tend to cast roles in my head because I spend so much time with these characters and the drawings that they're complete in themselves, you know what I mean?

As writers, we do our best to conjure a world so vivid that the reader can practically walk through it - but we're still only using words and relying on readers to do a lot of work of imagining. Providing pictures as well as words offers a whole new dimension to the experience of consuming a story.

When you read a novel, your own imagery is the most important. It's what makes reading such a wonderful thing.

I learned just recently, in fact, that a lot of people who read do not form a visual image from what they're reading. They just don't. They follow the events and get the resonance with the language, but they have only a vague, general idea of what the characters look like.

I often use nameless places in my work as a way of allowing the readers to create more of the novel and to make it potentially about their experiences, what they know, a city that they have perhaps seen on television.

You are always drawing from your personal life and using your imagination to fill in the blanks.

It's kind of like an out of body experience, watching my words being spoken by the actors, watching the portrayal of me by John David Washington.

I see myself as a storyteller. So, when I read something, I see the story, and I see it on screen, in my head, in a certain way. I always want to see it and see me in it.

My imagination doesn't require anything more of the book than to provide a framework within which it can wander.

It's like when you read a book and you know that the words are important, but the images blossoming in your imagination are even more important because it's your mind that allows the words to come to life.

It may sound very strange, but I love the freedom that writing a novel gives me. It is an unhindered experience. If I come after a bad day, I can decide that my protagonist will die on page 100 of my novel in a 350-page story.

I don't think most books can be justifiably translated on screen. The film versions can't convey the right emotion, fuel your imagination or allow you to visualise every line the way books do.

I just love to be able to actually build a character.

Books are better than movies because you design the set the way you want it to look.

If anybody reads a story in a magazine or book, different pictures compete in their minds.

I love being creative. I love acting, but I also love directing because you get to have a vision for the whole and bring that vision to fruition.

It's hard to see a film that's been made from a book that you really loved because it's such a different experience.

I like the eclipses, the synaptic jumps of short stories. The reader has to participate very actively in the experience.