Interconnected Narratives Quotes

Until then I had thought each book spoke of the things, human or divine, that lie outside books. Now I realized that not infrequently books speak of books: it is as if they spoke among themselves. In the light of this reflection, the library seemed all the more disturbing to me. It was then the place of a long, centuries-old murmuring, an imperceptible dialogue between one parchment and another, a living thing, a receptacle of powers not to be ruled by a human mind, a treausre of secrets emanated by many minds, surviving the death of those who had produced them or had been their conveyors.

The thing is that my father's story helps to communicate what was at stake with my mother, and my mother and father had so much a partnership that his story is integral to her story, as her story is to his - really, her story can't be told without his story.

In schoolbooks and in literature we can separate ecclesiastical and political history; in the life of mankind they are intertwined.

Thus I rediscovered what writers have always known (and have told us again and again): books always speak of other books, and every story tells a story that has already been told.

I've never read a book [ Nnedi Okorafor's Lagoon] like it before. Big and sprawling with a million points of view, including sea creatures. It's about an alien invasion that starts in Lagos, Nigeria but, really, that's just the starting point.

'TMOK' is about the very interesting journey of a girl in a different situation, and different stories blend into one film. The film has a lot of emotional depth, and I am sure people will like it.

Books always speak of other books.

'Drown' was always a hybrid book. It's connected stories - partially a story collection but partially a novel. I always wanted the reader to decide which genre they thought the book belonged to more - story, novel, neither, both.

That's the great thing about the 'Sin City' movies. Each little slot is incredibly meaningful, and each character has their own moment.

I sort of was inspired by 'Friday Night Lights,' where it was a very different show, but similar in that they were both large ensemble dramas where you had many stories going on at once. I wanted to do a show that shared that element, and that's really why I wanted to develop 'Parenthood' as a series.

Unlike novels with a hero or two heroines, in 'One Amazing Thing,' all the characters tell stories they've never told anyone before, so all the voices become equally important.

I look for really great characters. I say great because as long as they're really good, there's something you can do. And really good storytelling. And when people ask me what the story is, I say it's really several stories really. They're intermeshed.

The cinematic universe will not worry about 'Legion.' They will not worry about these TV worlds at all.

We're trying keep 'The Originals' in the same world as 'The Vampire Diaries.'

When I was a kid, I saw 'Heavy Metal' the movie, and my mind was blown. I loved the idea that you could have all these different stories in different styles that are linked together.

Stories are people. I'm a story, you're a story ... your father is a story. Our stories go in every direction, but sometimes, if we're lucky, our stories join into one, and for a while, we're less alone.

For books continue each other, in spite of our habit of judging them separately.

I never saw the premise as 'Godless' is the story of a town full of women. I always saw 'Godless' as being made up of a lot of intersecting, related stories that literally meet in the final episode.

There are no happy endings... There are no endings, happy or otherwise. We all have our own stories which are just part of the one Story that binds both this world and Faerie. Sometimes we step into each others stories - perhaps just for a few minutes, perhaps for years - and then we step out of them again. But all the while, the Story just goes on.

I was struck by the way Europeans see history as something neatly linear. For me, it's not that; it's not some kind of straight railway.

My goal is to write stories that are connected, but not sequels in any meaningful sense. Like Howard's Conan tales or Leiber's Fahrrd & the Great Mauser stories.

'Amores Perros' is three stories that interconnect in one moment, which is the car accident.