A Quote by Charles Stross

If I wanted to be in movies, I'd have gone into scriptwriting: the fact that I write novels should be a big hint about what I prefer to do! — © Charles Stross
If I wanted to be in movies, I'd have gone into scriptwriting: the fact that I write novels should be a big hint about what I prefer to do!
I wasn't one of those kids who dreamed of writing novels when I was 8 or 12. I wanted to be a film director. I wanted to make big action movies. I loved movies like 'Die Hard,' 'Predator,' 'Aliens,' 'Raiders of the Lost Ark.'
I think every American kid grows up dreaming about being in the movies. That's completely normal for us. But I mostly wanted to be a writer, and I got taught the scriptwriting program.
I write my novels personally, desperately and non-negligently. When I write my novels, I think about my novels only, and never do other works.
I know I'm not a wordsmith. And I don't write poetry. Sometimes I think I should, because it's really helpful. But I always wanted to write novels.
I think there's a false division people sometimes make in describing literary novels, where there are people who write systems novels, or novels of ideas, and there are people who write about emotional things in which the movement is character driven. But no good novels are divisible in that way.
Personally, I'm a big reader, and I've never wanted any of my favorite novels to be made into movies.
I had wanted to write English crime novels based on the American hard-boiled style, and for the first two novels about Brixton, the critics didn't actually know I was Irish.
I think, for me, there's The Book I Should Write and The Book I Wanted to Write - and they weren't the same book. The Book I Should Write should be realistic, since I studied English Lit. It should be cultural. It should reflect where I am today. The Book I Wanted to Write would probably include flying women, magic, and all of that.
In the back of your mind, when you say you want to write music for the movies, you're saying that you want a big house, a big car and a boat. If you just wanted to write music, you could live in Kansas and do it.
I've been thinking a lot about why it was so important to me to do The Idiot as a novel, and not a memoir. One reason is the great love of novels that I keep droning on about. I've always loved reading novels. I've wanted to write novels since I was little. I started my first novel when I was seven.I don't have the same connection to memoir or nonfiction or essays. Writing nonfiction makes me feel a little bit as if I'm producing a product I don't consume - it's a really alienating feeling.
I write what I want to write. Period. I don't write novels-for-hire using media tie-in characters, I don't write suspense novels or thrillers. I write horror. And if no one wants to buy my books, I'll just keep writing them until they do sell--and get a job at Taco Bell in the meantime.
The central question driving literary aesthetics in the age of the iPad is no longer 'How should novels be?' but 'Why write novels at all?'
I don't know how much movies should entertain. To me I'm always interested in movies that scar. The thing I love about JAWS is that I've never gone swimming in the ocean again.
The way you write dialogue is the same whether you're writing for movies or TV or games. We use movie scriptwriting software to write the screenplays for our games, but naturally we have things in the script that you would never have in a movie script -- different branches and optional dialogue, for example. But still, when it comes to storytelling and dialogue, they are very much the same.
What qualified me to write about Israel was that I wanted to; it took no time to convince myself. The only reservation I had was about eaven: I wanted to write about the Jewish heaven but did not feel qualified because I did not and do not believe in 'it,' though I should.
I always wanted to write novels, even before I had read a lot of novels or had a very good idea of what they were.
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