A Quote by Christopher Bram

Imaginative writers often project their own monsters and meanings on basic facts. — © Christopher Bram
Imaginative writers often project their own monsters and meanings on basic facts.
I don't like realism. We already know the real facts about li[fe], most of the basic facts. I'm not interested in repeating what we already know. We know about sex, about violence, about murder, about war. All these things, by the time we're 18, we're up to here. From there on we need interpreters. We need poets. We need philosophers. We need theologians, who take the same basic facts and work with them and help us make do with those facts. Facts alone are not enough. It's interpretation.
The Nature Lover is not looking for mere facts but for meanings, for something he can translate into terms of his own life.
In the developing world, people often use quite basic technology. Many of the most imaginative schemes are using what we'd count as old tech.
Choosing to live in narrow spaces leads to form of mental agoraphobia and that brings its own terrors. I think the willfully unimaginative see more monsters, they are often more afraid. What is more, those who choose not to empathize enable real monsters. For without ever committing an act of outright evil ourselves, we collude through our own apathy.
It's really funny, because if you make up words, then people project their own meanings onto it, which I find interesting.
A lot of writers want everything put on screen, but it doesn't work like that. The screenwriter brings her own imaginative interpretation, just as the director and actors do.
Facts are simple and facts are straight. Facts are lazy and facts are late. Facts all come with points of view. Facts don't do what I want them to. Facts just twist the truth around. Facts are living turned inside out.
I certainly incorporate facts into my fiction. I take the basic facts from the life of my subject and I pick and choose what to use to construct a really interesting novel. I don't let facts get in the way of my imagination and my exploration of the subject's emotions and relationships.
As I started to read nonfiction in the mid '70s, I discovered, holy cow, there was a lot of imaginative nonfiction. Not the kind where people use composite characters and invented quotes. I hate that kind of nonfiction. But imaginative in the sense that good writing and unexpected structure and vivid reporting could be combined with presenting facts.
To fight monsters, we created monsters of our own.
Facts are neutral until human beings add their own meaning to those facts. People make their decisions based on what the facts mean to them, not on the facts themselves. The meaning they add to facts depends on their current story … facts are not terribly useful to influencing others. People don’t need new facts—they need a new story.
Lies were lethal, however honourable the intentions of the liar. They deprived people of the opportunity to know the basic facts of their own lives.
I own all the characters I created, thanks to the Writers Guild, so nobody can do anything without me. The way it works is: If the copyright owners instigate a project, like the movie, then I get a fee as creator. If I instigate a project, like the musical, I pay a percentage to the copyright owners.
The great liberation of imaginative writing is that you're not held back by the facts.
Photographs freed from the scientific bias can, and indeed usually do, have double meanings, implied meanings, unintended meanings, can hint and insinuate, and may even mean the opposite of what they apparently mean.
I get worked up over an 'idea' or the ethos of an idea. I follow dreams, take notes on travels, and engage in research often - if I need names, details, facts that enhance the project.
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