Alan Moore Quotes

I think I realized very early on that you can spend a lot of time constructing a really perfect scene in final draft and just end up throwing it away because you didn't figure out that mathematics of the story first.

I've always known when I start a story what the last line is. It's always been the case, since the first story I ever wrote. I don't know how it's going to get there, but I seem to need the destination. I need to know where I end up. It never changes, ever.

I won't usually just sit down to write. I'd have done it in my head already. I visualise a story just like a film strip running in my head. I guess that is also a reason why my books have such a visual element to them. And it's what I tell young writers: plan your story ahead.

When I first began to have the initial idea for 'Heartsease,' I just wrote a skeleton story; that is, I started her off as this young, bright 16-year-old and then added the events that occurred and where she and other characters fitted in, even writing 3 different endings, as I was not sure where Mary's story would lead to.

Writing a story is pretty all-consuming for me - it feels a lot like method acting, and for the eight or twelve or fifteen months that I'm working on a story, I'm constantly thinking about how my narrator would react to whatever tangled situation I'm in.

In the writing process, the more a story cooks, the better.

What comes to me always is a character, a scene, a moment. That's going to be the beginning. Then, as I write, I begin to perceive an ending. I begin to see a destination, although sometimes that changes. And then, of course, there's the whole middle section looming.

It's not that I ever sat down and outlined a trilogy, but I always have a sense of what size an idea is when I start it.

What I have in advance are people I want to write about and a problem or problems that I see those people encountering and that I want to explore - it all proceeds sentence by sentence, paragraph by paragraph, and scene by scene.

Once you come up with a premise, you have to work out how it all happened. It's a bit like coming up with a spectacular roof design first. Before you can get it up there, you need to build a solid foundation and supporting structure.

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

Titles are important; I have them before I have books that belong to them. I have last chapters in my mind before I see first chapters, too. I usually begin with endings, with a sense of aftermath, of dust settling, of epilogue.

The unfolding of a story is both as exciting and as difficult for each and every novel I've written, regardless of time and place.

My forte is the plotting. You sit down, and you work out a plot.

It would not be amiss for the novice to write the last paragraph of his story first, once a synopsis of the plot has been carefully prepared - as it always should be.

The reason I choose the stories I choose - and it's why it takes me so long to find ideas - is that I'm looking for that very thing. I want an idea that begins, I want a middle that is compelling and will bring readers along, and I definitely want an ending.

For someone who wants to write a story, they should go on thinking about the story. When it comes up to a level, where it has reached your neck that's when you should go about writing it.

I usually have a general idea of where the story is going, but I try to avoid planning in too much detail. The best endings are those that emerge only after I've thought long and hard about the various ways the story might end. Then I choose the ending that seems surprising yet somehow inevitable.

I make extensive outlines before I write a book. I usually know what will happen. I know the characters, and I know what they are about.

It begins with the kind of story the writers want to tell. We never sit around in those retreats and say, 'We really need to make a change. Let's change this character.' Or throw a dart at the wall and see what hits. It all begins with story.

I'll usually see a scene in my head, playing like a movie trailer. After I've written that scene, everything takes off from there.

I plot the first 5 or 6 chapters quite minutely, and also the end. So I know where I am going but not how I'm going to get there, which gives characters the chance to develop organically, as happens in real life as you get to know a person.

Obviously, I love to do both contemporary and historical fiction. When a hint of a story grabs me, I try to go with it to see where it will take me whatever the setting.

As far as personal philosophies go, I think you should know your ending. I know that's radically different from a lot of other writers who just organically like to find the story. Other than that, I try different things and mess around. I'm still just playing a good bit.

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.