A Quote by Chuck Wendig

Enter the story as late as you can. — © Chuck Wendig
Enter the story as late as you can.
There are things I'm never late for. I'm not late for the theater; I'm not late for the movies; I'm not late if my single girlfriend is at a bar somewhere. But if I'm on vacation in Mexico with a bunch of cackling hens, then I'm going to be late for dinner - count on it.
Whenever I write for television, I plan the story on whiteboard wallpaper in my office, using a system created by the American writer Dan Harmon. It's remarkably simple: a character wants something; they enter a new world and adapt to it; they get what they want, re-enter the old world and change.
'The Duffler' is a very familiar story, a story about someone having something and not appreciating it until it's gone, when it's too late.
The lovers enter into a story together - "this how we met, this is how we were meant for each other" - and then at some point (in my experience, at least), the story splits, and they no longer share it. Then, you either change the story, or you break up. I've always broken up.
Robert McKee says humans naturally seek comfort and stability. Without an inciting incident that disrupts their comfort, they won’t enter into a story. They have to get fired from their job or be forced to sign up for a marathon. A ring has to be purchased. A home has to be sold. The character has to jump into the story, into the discomfort and the fear, otherwise the story will never happen.
I do need to find inner tranquillity and get into a "zone" before I switch on the computer to work on a story. Only after this do I enter the story world, where I meet the characters and, together, we work through the day and night.
I am obsessed with story. I had a late awakening in life. In college was the first time that I understood what you could do with a story and what a good novel is - literary value and subtext and irony and everything.
Any time you enter a tournament before a slam, there's always the possibility you'll be arriving late. It's a very good problem to have.
My fictional worlds were those of a fabulist, of an intellectual fantasist. I was the lawgiver, and the countries and inhabitants of my imagination were answerable to me. If I wished for a man to levitate; to enter another's story by rowboat or by intoning a sentence or by performing a shadow-puppet play; if I wanted him to become a swarm of intelligent elementary particles and enter the Internet and travel into the past and far into the future, it was so.
The professionalism of wire service reporters is constantly being tested because reporters know that if they're late or sloppy on a story, it will show up because the competition is likely to be not late and not sloppy.
for most of us the space between 'dreaming on things to come' and 'it is too late, it is all over' is too tiny to enter.
I think in my late 20s, I was starting to enter that realm of complacency, which is the most terrifying place I can imagine as an artist. I felt time creeping up on me.
Hemingway is terribly limited. His technique is good for short stories, for people who meet once in a bar very late at night, but do not enter into relations. But not for the novel.
Usually at the end of each story we're thrown clear out of the story's world and then we're given a new world to enter. What's unique about a linked collection is that it can deliver both sets of narrative pleasures - the novel's long immersion into character-world and the story anthology's energetic (and mortal) brevity - the linked collection is unique in its ability to be both abrupt and longitudinal simultaneously.
It's not the side-effects of the cocaine - I'm thinking that it must be love. It's too late to be grateful, It's too late to be hateful, It's too late to be late again, The European cannon is here.
The pressures to get the story first, if wrong, are greater sometimes than the pressures to get the story right, if late.
This site uses cookies to ensure you get the best experience. More info...
Got it!