A Quote by David Brin

When I begin a book, I inevitably discover many things along the way, about the characters, their past histories and the political intrigues that surround them. This discovery process is vital, and I would not prejudice it by deciding too much in advance
When I begin a book, I inevitably discover many things along the way, about the characters, their past histories and the political intrigues that surround them. This discovery process is vital, and I would not prejudice it by deciding too much in advance.
I say too much of what, he says too much of everything, too much stuff, too many places, too much information, too many people, too much of things for there to be too much of, there is too much to know and I don't know where to begin but I want to try.
I was in the hospital and I was paralyzed and I went through all of these things. I've had all of these crazy experiences and jobs in my life, but I never really write about them because I've already told them as stories to friends. For me, the process of writing is the process of invention. But the hospital story felt told already. There was nothing to discover in the telling of it. The discovery had to be in the form. It wasn't really the unfamiliarity of the form, it was more about a way incorporate invention and how to realize it imaginatively.
The reader has information about the characters that the characters themselves don't have. We all have our secret sides. Even I come to understand things about the characters only through the writing process, as I am going along.
One of the things I love about writing is the way you can use what you know and what you've experienced, without actually writing about yourself. I've given many of my experiences and perceptions to many of the characters in the book, but none of them is me.
Gettting to know your characters is so much more important than plotting. Working out every detail of your story in advance, especially when you don't yet know your main characters, always seems a little too much like playing God. You're working out your characters' lives, their destiny, before they've had a chance to discover who they are and what kind of people they want to be.
When I'm writing for a book, it's much more reflective process. I have certain things that may not translate well to the stage, but, when they're on the page, people can really get into them. My first two books were aiming to be funnier, but the third was more about deep exploration. Things about being a parent and growing older that I thought would be perfect for a book.
The real power of this book comes from its documentation from major sources. In fact, you will quickly discover that most of my documents about Jewish Supremacism are from Jewish sources. They argue more convincingly for my point of view than anything I could write. I encourage you to go to the sources that I quote and check them out for yourself. In this book I take you along with me on a fascinating journey of discovery in a forbidden subject. I urge you to courageously keep an open mind while you explore the topics ahead, for that is the only way any of us can find the truth.
I always think that there's a weight of prejudice from the past that gay people perhaps carry around with them. Even if it doesn't exist so much around them, they still have a feeling of being excluded, and perceived prejudice is almost as unsettling as actual prejudice.
I try to listen to a lot of music when I'm in the mixing process of a record, when I'm in post-production and trying to get everything to sound a certain way. During the writing process, I tend not to listen to too much music. I obviously wear a lot of influences on my sleeve, but if I was listening to too many records, I would turn into too much of a monkey.
As we go within the self, we discover that all the voices of our past lives are still there. As we peel ourselves, which is a process very much like peeling an onion, we discover that there are many selves within the self.
Because I never plan anything out ahead of time, I'm always in the process of learning about my characters. Without a biographical sketch to guide me, I discover things about my heroines as the stories unfold. Only in 'Body Double' did I discover that Maura's mother was a serial killer.
People respond to something which intrigues them instead of something that gives them all the information - particularly in pop, which is, like, the genre for knowing way too much about everyone and everything.
Many writers hate the shilling process, and I understand that. However, it's really the only thing about the publication process you can somewhat control. You can't affect reviews. But you can try to find your book an audience. One of the problems with the book publishing industry is that their publicity efforts tend to be spent on people who already read, and know how to discover, literary fiction.
One of the great things about humor is, you can slip things past people with humor, you can use it as a sweetener. So you can actually tell them things, give them messages, get terribly, terribly serious and terribly, terribly dark, and because there are jokes in there, they'll go along with you, and they'll travel a lot further along with you than they would otherwise.
It is a process of discovery. It's being quiet enough and undisturbed enough for a period of time so that the songs can begin to sort of peek out, and you begin to have emotional experiences in a musical way.
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