A Quote by Ashwin Sanghi

Initial work is on period research where the historical markers are absolutely non-negotiable. Once that is established, a writer can take creative liberties in terms of chronology to suit the story.
I take inspirations from newspaper strip cartoonists who look for ways of expanding their characters' worlds once they have established the initial concept of their strips.
I begin with understanding the intentions of the story. That helps me to zero in. Then I gather research for each individual character and analyze the time period with comparisons to the figure and the facial structure. It helps to be comfortable with computers because the massive amount of research is kept electronically and shared with my staff this way. Very little is printed out. I work with an illustrator to come up with the proper silhouettes and details of the clothing from the time period to time period. And on and on.
I think of what I do for work as playing/jamming. Music for me is so much fun so I don't take my work very seriously in terms of not being humorous, but I take it absolutely seriously in terms of taking the time to make it as rich and glorious as possible.
Of the total creative effort represented in a finished work, 75 percent or more of a writer's labor goes into designing the story designing story tests the maturity and insight of the writer, his knowledge of society, nature, and the human heart. Story demands both vivid imagination and powerful analytic thought.
I could write historical fiction, or science fiction, or a mystery but since I find it fascinating to research the clues of some little know period and develop a story based on that, I will probably continue to do it.
I never really wanted to be a writer. I know it sounds strange, but I honestly believe that I didn't pick the story; the story has picked me. I've written absolutely no fiction before 'The Immortals of Meluha.' Not even a short story in school - absolutely nothing.
The model we established was to give creative people complete creative freedom in exchange for betting on themselves, so they work for the minimums you're allowed to work for, and if the movies work in a big way, everyone does very well. If the movies don't, nobody loses too much money. The benefit to doing all the movies low budget is we can tell different types of stories and take creative risks. The Purge would have been irresponsible to do for $20M, but to do it for $3M makes sense.
I think once those friendships, if you use that as an analogy, the friendships between the audience and the character is established, then you can start to take liberties. I believe that as this unfolds people will find the time invested worthwhile.
The hardest period for a writer is the period in-between writing. That's when you can go crazy if you don't allow the creative juices to flow.
In 'Labor Day Hurricane, 1935,' Douglas Trevor vividly recreates a historical event. While that is the only story in A THIN TEAR IN THE FABRIC OF SPACE in the historical past, many of the other stories juxtapose fact-both historical and scientific-with narration to an engaging effect, one that distinguishes the voice of this new writer.
Does research get in the way of the story? It certainly can. Anything can, given that as writers we're all geniuses at procrastination. But mostly research teaches me about the world. Which often shows me the way, in terms of the story.
I have a strong work ethic, yet I'm incredibly lazy as well. The problem with being a writer is that everything you do can be called research. Sitting in the pub is research. Reading the newspaper can be research.
Bryce Zabel and I went down the road of revising the Kennedy historical record together on the NBC seriesDark Skies. This time instead of giving new meaning to the established JFK chronology, hes created a brand new one altogether.Surrounded by Enemiesis an exhilarating ride, full of twists and turns that never were, but surely could have been.
I don't really have a historical overview of my work at all. I'm not an art historian. I don't see that there's this period and that period.
If we're ignorant of the historical sacrifices that made our liberties possible, we will be less likely to make the sacrifices again so that those liberties are preserved for future generations. And, if we're ignorant, we won't even know when government infringes on our liberties. Moreover, we'll happily cast our votes for those who'd destroy our liberties.
The Assembly has witnessed over the last weeks how historical truth is established; once an allegation has been repeated a few times, it is no longer an allegation, it is an established fact, even if no evidence has been brought out in order to support it.
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