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Writing is hard. I mean, I sit there and work at it.
George R. R. Martin
There has to be a level of joy of what you're doing.
I have idea files of books that I want to write one of these days, stories I want to write one of these days, but I'll probably never get to them.
There are some examples of medieval kings who were terrible human beings but were nevertheless good kings.
I don't know if I have any particular views about women in positions of power, though I do think it's more difficult for women, particularly in a Medieval setting. They have the additional problem that they're a woman and people don't want them in a position of power in an essentially patriarchal society.
With a book I am the writer and I am also the director and I'm all of the actors and I'm the special effects guy and the lighting technician: I'm all of that. So if it's good or bad, it's all up to me.
I work for two years on a book and it comes out and two days later I've got my first e-mail: When is the next one coming out?
The odd thing about being a writer is you do tend to lose yourself in your books. Sometimes it seems like real life is flickering by and you're hardly a part of it. You remember the events in your books better than you remember the events that actually took place when you were writing them.
I have many books that I want to write; I'd like to think that I'll be around for another 20 years or so and write another dozen novels, probably some sort of imaginative literature... Never again another seven-volume saga.
I can see a scene in my head, and when I try to get it down in words on paper, the words are clunky; the scene is not coming across right. So frustrating. And there are days where it keeps flowing. Open the floodgates, and there it is. Pages and pages coming. Where the hell does this all come from? I don't know.
I'm a huge fan of Tolkien. I read those books when I was in junior high school and high school, and they had a profound effect on me. I'd read other fantasy before, but none of them that I loved like Tolkien.
Boy, there are days where I get up and say 'Where the hell did my talent go? Look at this crap that I'm producing here. This is terrible. Look, I wrote this yesterday. I hate this, I hate this.'
Many writers will get a contract by selling chapters and outlines or something like that. I wrote the entire novel, and when it was all finished, I would give it to my agent and say, 'Well, here's a novel; sell it if you can.' And they would do that, and it was good because I never had anyone looking over my shoulder.
It's like these ideas, these characters, kind of bubble up inside me, and one day they're not there, and the next day they are there. They're alive, and they're whispering in my head and all that stuff, and I want to write about those things.
All fiction has to have a certain amount of truth in it to be powerful.
Start with short stories. After all, if you were taking up rock climbing, you wouldn't start with Mount Everest. So if you're starting fantasy, don't start with a nine-book series.
I've said in many interviews that I like my fiction to be unpredictable. I like there to be considerable suspense.
One of the big breakthroughs, I think for me, was reading Robert A. Heinlein's four rules of writing, one of which was, 'You must finish what you write.' I never had any problem with the first one, 'You must write' - I was writing since I was a kid. But I never finished what writing.
I suppose I'm a lapsed Catholic. You would consider me an atheist or agnostic.
I like grey characters; fantasy for too long has been focused on very stereotypical heroes and villains.
A lot of writing takes place in the subconscious, and it's bound to have an effect.
I think in television and film, it's not usually the child's point of view. It's the story of an adult. If there's a child in a drama or an action-adventure movie, they're someone who needs to be saved, someone who needs to be protected, or if they're killed, someone who needs to be avenged. Their character doesn't matter much.
'Dreamsongs' allows me to show the scope of my writing - with personal commentary that puts the works in context and includes some autobiographical details intended to reveal how each piece came to be, what it represents, and how it has formed, or been informed by, my philosophy of writing.
I have an instinctual distrust of conventional happy endings.