Top 1224 Quotes & Sayings by Neil Gaiman - Page 20

Going to Comic-Con for me is always hard and weird, so it just makes me feel guilty. There's always a hundre thousand people out there who have copies of things that I've written and they really want signed and they're not going to get them signed.

There are characters in some short stories who exist as people, and there are other characters in different short stories who exist as purely literary constructs. You know, the young man in "Forbidden Brides of the Faceless Slaves in the Secret House of the Night of Dread Desire" - I probably got that right - is a literary construct, and enjoys being a literary construct. He has no life off stage, whereas the young men in "How to Talk to Girls at Parties" were as near to being real human beings as I could possibly get them.

Writing, and especially writing a novel, where you get to sit in a room by yourself with either a pen and a paper or a computer for a couple of years, is a very solitary occupation. You can read sales figures - a hundred thousand books sold, half a million books sold - but they are just numbers.

I always figure there are novels and short stories, and in those, I'm God. No one tells me what to do. I don't have to lose a page, or cut anything, it's just mine. Then there are other things where you're up against realities.

Human beings do not relate to written words in the same way that they will relate to spoken words. They do not relate to music in the same way that they do to pictures. It's all different parts of our head, different parts of our minds processing this.

I love mythic stuff. I love playing with gods, I love playing with myths. A lot of it has to do with that they're the basic places stories come from. They're the clay that you make the bricks out of.

I didn't like people rewriting my dialogue. I didn't like the fact that we'd start a comic with the Joker, and by the time we inked it, he would have turned into the Scarecrow.

In comics, collaboration saves your life. How well you can work with an artist, a colorist, a letterer, is how good your comic is.

When I was very young, I would occasionally stick 'f****' where I knew something contentious might happen so that the editor could remove the word 'f***' very proudly and leave whatever else was around it.

As far as I'm concerned, the world is composed of stories. For architects, the world is composed of buildings, for actors the world is composed of theatres, or whatever... For me, the world is simply composed of stories, when I look, that's what I see.

I love learning. I tend to stop doing things once I get good at them, and to try something else I'm not as good at, leaving a bunch of fans going, "But he was really good at that. Why isn't he still doing it?"

The imagination and the place that dreams come from is so huge and so important. I'm trying to write about the real world, in that I'm trying to write about whatever it is the experience that makes us human, the things that we have in common.

The trouble with everything, these days, for me, is time. There is only one me. There are a ridiculous number of demands on my time. There are so many things I'm trying to do. It's so much more about when I'm going to get time to do it, if I get time.

Virginia is the place, where, technologically speaking, they will burn people at the stake for possessing such things as toasters.

I like horror, but I tend to like it as seasoning. I'd get very bored if I was told I had to write a horror novel. I'd love to write a novel with horror elements, but too much, and it doesn't taste of anything else.

People seem to think that they can't come up with ideas, and they're wrong. They can and they do, but they just think of it as daydreaming, or wasting time. Kids get told not to make things up, and in my case, nobody told me long enough, or it just didn't stick.

I think I love my dreaming process because one of the things that my dreaming process does is sort out stories for me.

I am not by nature the kind of creator who is transgressive in order to be transgressive.

It seems like every time I agree to work with a video game company they go out of business. I stopped because I was starting to feel guilty.

My ideal reader is me. And yes, my ideal reader comes with me and is forgiving.

If you give a writer a pile of blank paper and say you can write anything you like on any subject you want at any length you want, you will probably never get anything at all, whereas if you have 900 words to write, and it's fiction that is somehow op-ed fiction, and it needs to tie in with Halloween . . . okay, those are my constraints, that's where I now need to start building something.

I enjoy writing scripts. I can find out what happens. With an outline, I feel like I'm doing an architectural diagram of something.

I love the auditioning process. I love working with the technical guys. I absolutely love the editing room. That was completely fascinating to me, working with an editor in crafting the thing into something you had in your head.

Anywhere that I can't check my email is a good place to write!

I tend to think of fear and humour as very, very close together. And to be honest I think pornography completes the triangle, because they are things that to work need to evoke a certain reaction.

Coming over from England, I was awe-struck by what Americans do at Halloween. I find it magnificent. In England, you get the occasional fancy dress party.

The comic convention itself tends to come second to the giant announcements in Hall H and the movies and the TV. So I think it's always good to remind people that there is a wonderful comic convention going on.

The best thing about doing a signing tour is that numbers become faces. I got to sign books for six or seven thousand people, all of whom were dreadfully nice. Everything else, the interviews, the hotels, the plane travel, the best-seller lists, even the sushi, gets old awfully fast. Well, maybe not the sushi.

I loved all books that I could read, and I never knew if I was ready for it until I tried to read it, so I tried to read everything.

If I'm writing a novel, I'll probably get up in the morning, do email, perhaps blog, deal with emergencies, and then be off novel-writing around 1.00pm and stop around 6.00pm. And I'll be writing in longhand, a safe distance from my computer. If I'm not writing a novel, there is no schedule, and scripts and introductions and whatnot can find themselves being written at any time and on anything.

"Ocean" is more about ... powerlessness and hopelessness. When we're very small we can't actually do anything - we have no say in what happens, we have no money or resources, we sometimes have no idea what's going on.

I don't believe in "writer's block". I try and deal with getting stuck by having more than one thing to work on at a time. And by knowing that even a hundred bad words that didn't exist before is forward progress.

The biggest pitfall to avoid is not writing. Not writing is really, really easy to do, especially if you're a young writer. The hope that elves will come in the night and finish it for you, is a very common one to have. That is my main recommendation - you have to write, and you have to finish what you write and beyond that, it's all detail.

I don't think about age groups when I write, although I think if I know I'm writing for Children I'll be a bit more ambitious, and think more about every word, because I know that they pay closer attention when they read than adults do.

I very rarely want to go back and fix things, because I'm much more interested in the next thing, and in taking what I learned from the things that don't work, and applying them to new things that may work.

Most of what I want to try to do is continue to go places with fiction that I've never gone before, and tell stories I've never told before, and one of the problems you rapidly discover about fans is what fans want is the last thing they liked. They want more of that.

The magic of comics is that there are three people involved in any comic. There's whoever's writing it and whoever's drawing it. And then there's whoever's reading it because they are creating the movement. They are creating the illusion of time passing.

We get to experience the same thing in very different ways with different parts of ourselves.

I looked at the world of books and just went, Oh my gosh, if I'm writing novels, I'm on the same shelves as Jane Austen and Charles Dickens and Petronius - whereas with comics, they've only been doing them for a hundred years, and there's stuff that nobody's done before. I think I'll go off and do some of the stuff no one's ever done before.

I personally have a great deal of respect for readers. I have a great deal of respect for the human race. I think most people can tell the difference between fiction and fact. I think that the action of writing about something does not condone it. The best thing I can ever hope to do is provide good questions, and I think I do that. I hope I do.

The strangest part of being so well known is definitely getting a New Yorker profile. It's a wonderful, strange process, like seeing yourself through a distorting mirror.

There's definitely a feeling with a short story that it's pure story telling. You're not really worried about theme. You're not going to stay with the characters long enough to live your life with them. And you have different kinds of relationships with them.

I'm willing to make a fool out of myself in public. I'm also willing to make those mistakes that you're going to make the first time you go out, so hopefully the next time it will be better.

Fiction takes us to places that we would never otherwise go, and puts us behind eyes that are not our own.

Whereas there are lots of good novels out there; there are a few good movies out there. People have been writing great poems for years, but there aren't a lot of good comics. I like trying to write them.

Imagine a mosaic picture of a house in the country: lots of red and blue and yellow and black and brown and white and a dozen different shades of green tiles which make a beautiful picture if you stand back far enough. All the little red squares are true - true things, true places, true feelings. But the red squares aren't the picture. All the rest of it is lies and stories, often within the same sentence.

To journalists my move from comics to films to best-selling novels was resembling those little evolutionary maps too much, where you see the fish, and then it can walk, and then it's an ape and then it gets up on its hind legs and finally it is a man. I didn't like that. I didn't like the fact that there was something rather amphibious about me - at least in their heads - back when I was writing comics. So I like continuing to write comics, if only because it points out that I haven't just started to walk upright or left the water.

If writing a novel is a year's exile to a foreign country, writing a short story is a weekend spent somewhere exotic. They're much more like vacations, more exciting and different, and you're off.

I know that the way to be a really successful writer is to write the same kind of book over and over again. Find the kind of thing that people like and just write one of those over and over again. I don't do that. I just keep doing different things.

I think that is something that I always like in my work - the sense of inclusion rather than the sense of otherness.

If people are standing up there saying, my football team just won with help from God, then obviously God just pissed over the other team.

It's one thing to want money, but if you find yourself choking on a coin as you wake, the money is slightly less desirable.

I realized the other day that about the only author I genuinely read for pure pleasure is one of the worst authors in the world, a guy called Harry Stephen Keeler, a long dead American mystery writer. He was probably the greatest bad writer America ever produced.

I think radio plays are my favourite medium, as they make the listener work and create and contribute in a way that TV and film can never do, and they have an immediacy that written prose often lacks.

Everything has to be intrinsic plot-wise in the same way, to use the Linda Williams analogy but to move it on a bit, as musicals - in old musicals, like in an old Cole Porter musical, you get the action, then they do a song, which reflects a moment - everything stops while that is being sung - and then you restart. These days in most musicals, the plot keeps moving through the song. I think it would be nice if someone constructed some pornography where the sex continues to propel you through the story.

I was the kind of person who knew what he wanted to do; I wanted to write, I wanted not to be in school, and I felt that university would just be spending another four years of my life before I could write.

If you go to space, you'll look down and see no national boundaries. You'll never see the gods people are killing each other over, but they're incredibly real.

According to my daughters, my most irritating habit is asking for cups of tea.

I am fascinated a) by transgressive art and b) what happens beyond the boundaries.

People can get involved in wonderfully creative ways that have nothing to do with you, but spark off things you begin with.