Sarah Dunn Quotes

One of the greatest things about 'Continuum' is how great the writing is; our writing room is one of the most talented ones I've ever had. It really helps me as far as character development because they paint a very descriptive picture of who the characters are while still letting us have freedom to put in our own ideas.

For 'Breaking Bad,' it was like, that's one of the best pilots, probably the best pilot I have ever read.

I do think novels are overlooked. I did write one some years ago that I think is quite good, called 'The End of the Story,' not to blow my own horn.

If I want to write a movie, I'll write a screenplay, but if I have an idea for a book, it's something that I think can only be done novelistically.

I was creator and executive producer of 'The Brady Bunch' on TV. The stage version was done by others, but it was a repeat of the old scripts. The 'Gilligan' musical is a completely original work with all seven characters and 18 original songs.

I started writing prose before I started writing television. Then 'Breaking Bad' came around, and to me, writing 'Breaking Bad' is like writing a novel each season. So it's been very creatively satisfying writing for the show.

When you write a movie, you have a hundred collaborators. But when you write a novel, it's yours.

With television, I worked on 'Lost,' where you'd just put your faith in the writers and go with what they're writing.

Sometimes they keep us in the dark, but it's TV, so sometimes they keep us in the dark because even they don't know yet. You know what I mean? So, it sort of develops as it goes along and according to various needs that arise.

Before trying a novel I wrote a couple of plays.

I don't know what's coming down the pike in 'Gotham.' Part of me goes, 'Man, I just wish I could be in the writers' room. Do you need someone to make you guys coffee?' I just want to be a part of the flow of it.

When I create a TV show, it's so that I can write it. I'm not an empire builder; my writing staff is usually a combination of two kinds of people - experts in the world the show is set in, and young writers who will not be unhappy if they're not writing scripts.

Matthew Wiener on 'Mad Men' writes the entire series before they start shooting, and if you have that, then what you can do with character and story is not at all unlike what you can do in a novel.

The key thing if you're a writer is to visualize the scene and convey it to the penciller and turn the penciller loose.

I had been contemplating working on fiction show for some time and 'Humsafars' seemed like the perfect choice.

I have a novel out, 'Lupus Rex,' that I wrote and am excited about that.

Writing a novel is like working on foreign policy. There are problems to be solved. It's not all inspirational.

'Gone-Away World' was a shotgun blast, an explosion out of the box I'd put myself into writing film scripts. 'Tigerman' is shorter, tighter, more crafted.

I am also working on a couple of short stories for anthologies. This is new to me and I'm enjoying it.

I don't know that any writing comes easily, but I certainly get more immersed in novels. I don't think the routine is any different, but fiction tends to pull me further away from my life. When I'm deep in a novel, I don't pay bills and I walk around in one shoe, drinking two-day old coffee, and calling my kids by the wrong names.

I sat down to take a break from writing a book and wrote a spec feature that would end up being the movie 'Lies & Alibis' with Steve Coogan.

If you set out to write an adjective novel, you're setting out to write a mediocre novel; your allegiance is to the adjective, not to the story, and then that just sucks all the joy right out of it.

I have never started a novel - I mean except the first, when I was starting a novel just to start a novel - I've never written one without rereading Victory. It opens up the possibilities of a novel. It makes it seem worth doing.

When you're writing a novel - at least the way I write is I work from what I would call 'emotional atmosphere,' ambiance to ambiance.

Short-story writing requires an exquisite sense of balance. Novelists, frankly, can get away with more. A novel can have a dull spot or two, because the reader has made a different commitment.