A Quote by Diana Gabaldon
Partly because of the way I write - I don't work with an outline or in a straight line. I work where I can see things happening, and so I get lots and lots of little bits to start with, and I'm doing the research at the same time.
Related Quotes
I don't work in a straight line. I don't write with an outline. I write where I can see things happen, and then things get glued together.
Professionally, I was at Bristol Old Vic Theatre School and did lots of things there, and then I won the BBC Carlton Hobbs Award, so I did some BBC Radio drama work, which is a lovely way to start out because you work with lots of great people, and you're working all the time, so you're learning rather than sitting around and waitressing.
Every time you have a crisis in a country you have an extreme wing coming up and proposing solutions. The way to fight them is by doing lots of work teaching people that every time these fascist systems gained power they ended up with big tragedies - lots of blood, lots of police, and lots of misery.
I don't plan the books ahead of time. It's not like Harry Potter. I don't work in a straight line. I don't write with an outline.
Make lots of noise
Kiss lots of boys
Or kiss lots of girls
If that's something you're into
When the straight and narrow
Gets a little too straight
Roll up a joint (or don't)
Just follow your arrow
Wherever it points.
It was fantastic to work in Cornwall partly because my family live there so I was able to do lots of visiting and eat lots of cake. They live all over Cornwall and all over Devon.
I don't plot the books out ahead of time, I don't plan them. I don't begin at the beginning and end at the end. I don't work with an outline and I don't work in a straight line.
I always like to borrow bits and pieces of things. There's a line between jumping on something that's happening and incorporating bits and pieces of it into my work.
An outline is crucial. It saves so much time. When you write suspense, you have to know where you're going because you have to drop little hints along the way. With the outline, I always know where the story is going. So before I ever write, I prepare an outline of 40 or 50 pages.
I try to think of a way to get there without going past it. There are lots of ways, but they all have me walking a little farther. And that's stupid, I decide. What am I, a little kid? I can stand to see something it hurts to want. I can see it and then just keep walking. It happens to lots of people everyday. We all survive.
Sometimes you start a little further back from the starting line. And you're going to have to work a little bit harder, and push it faster to get to the finish. I'm willing to put in the work, to compensate for other things, to get ahead, to get to where I want to be.
Nashville feels like a big little town to me. It's got lots of culture and lots of interesting things to do and lots of interesting people. At the same time, it feels very small and tight-knit and very close. Everyone feels like they know each other.
The rich have lots of money. The wealthy have lots of time. I've done enough to have lots of time today to watch sunrises and get drenched in the rain.
Since I had children I have taken huge amounts of time off. In a way it's a really good thing, in this show business especially, to have lots of private time, having lots of time to be in the world to observe people and read and take care of my kids helps me to come back into work with a thrill.
When you're doing lots and lots of episodes and you're playing the same character, it's great because you really get to know the character and it becomes a really fast style and you find subtleties in it.
I've turned down lots and lots of work. Things that could have made me some money.
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