A Quote by Craig Thompson

I think with 'Chunky Rice,' it felt novel to me to give this emo twist on these funny animals. — © Craig Thompson
I think with 'Chunky Rice,' it felt novel to me to give this emo twist on these funny animals.
What were you thinking? You just met him. (Selena) I know. It’s so not like me, but I couldn’t help myself. It was just like that weird magnetic force that grabs me when I’m walking past the Frostbyte Café and makes me swerve in to get a triple scoop of Ben and Jerry’s Chunky Monkey. The power of temptation was just too much, Selena. I couldn’t resist it. He was a Chunky Monkey container and all I could think was, ‘Someone give me a spoon.’ (Sunshine)
Horror and supernatural novels give you a lot of what you look for in a crime novel, just with a twist that was very fresh for me as a reader.
Even though the hero of emo is Morrissey, the great song of emo is 'Love Will Tear Us Apart.' An emo soundtrack would introduce Joy Division's music to a whole new generation.
I think the success of every novel - if it's a novel of action - depends on the high spots. The thing to do is to say to yourself, 'Which are my big scenes?' and then get every drop of juice out of them. The principle I always go on in writing a novel is to think of the characters in terms of actors in a play. I say to myself, if a big name were playing this part, and if he found that after a strong first act he had practically nothing to do in the second act, he would walk out. Now, then, can I twist the story so as to give him plenty to do all the way through?
The idea of surprise is part of what makes something funny, or what gets a reaction. At least when I'm an audience member, after you hear a joke so many times it's not as funny because it loses its surprise or its twist. So I think funny has to do with surprise.
Animals talking are very rarely funny. But animals behaving as animals - always funny.
I like rice, as long as they let me put my own stuff on it. You can bring me white rice or brown rice; just let me doctor it up.
If you give me rice, I'll eat today; if you teach me how to grow rice, I'll eat every day.
Usually there will be a funny trend that I put my own twist on or something hilarious happens to me and I think - 'This would be a perfect TikTok.'
Writing the novel felt so private to me! I think publishing a novel is quite public and exposing, and what's a little frightening to me right now is the fact that it feels so entirely opposed to the privacy that is writing.
When I was a kid, brown rice felt like punishment. Like the ever-increasing amount of whole wheat flour that would appear in my mom's pancakes and waffles, brown rice with dinner felt like we had done something really wrong.
After my first novel, my mother said to me, 'Why don't you make your writing more funny? You're so funny in person.' Because my first novel was rather dark. And I don't know, but something about what she said was true. 'Yes, why don't I?' Maybe I was afraid to be funny in the writing. But since then, seven books later, almost everything I've done has a comedic edge to it.
I now understand how varied the world of cultivated rice is; that rice can play the lead or be a sidekick; that brown rice is as valuable as white; and that short-grain rice is the bee's knees.
You see it in the many bouncing clothes that are not just pleats. To make them, two or three people twist them - twist, twist, twist the pleats, sometimes three or four persons twist together and put it all in the machine to cook it.
My musical style changes with every song that I make. I jokingly referred to it one time as 'emo thug', and I think that kind of stands because it's got equal parts of the aggressive confidence of the Dre beats I grew up listening to, and the emotion of like... emo music!
Great, big, serious novels always get awards. If it's a battle between a great, big, serious novel and a funny novel, the funny novel is doomed.
This site uses cookies to ensure you get the best experience. More info...
Got it!