A Quote by G. Willow Wilson

The script for what would eventually become my first graphic novel, 'Cairo,' sort of came to me in kind of a bolt of lightning within 24 hours of having moved to that city. Just a jumble of characters and narratives and interesting things that I was seeing and experiencing for the first time.
Both the 'Gregor' series and 'The Hunger Games' are what I call lightning-bolt ideas. There was a moment where the idea came to me. With 'The Hunger Games,' the lightning bolt sort of hit at a moment when I was channel surfing between reality TV and the coverage of the Iraq war.
That's the problem with bacterial meningitis: it progresses really fast. You think you have the flu, and they say within 15 hours it's severely deadly - for sure within the first 24 hours - but even the first 15 hours.
The graphic novel? I love comics and so, yes. I don't think we talked about that. We weren't influenced necessarily by graphic novels but we certainly, once the screenplay was done, we talked about the idea that you could continue, you could tell back story, you could do things in sort of a graphic novel world just because we kind of like that world.
When you first read a script is the purest moment. That's when you can understand how an audience will ultimately receive it. The first reading of the script is so important because you're experiencing it all for the first time, and it's then that you really know if it's going to work or not.
I'm socially awkward. What draws me to playing socially awkward characters? I think they're interesting. I'm fascinated kind of by - I mean, I know I'm sure I've got my own social awkwardness but I'm kind of fascinated by that and I lived, probably, I attribute it - I lived in New York for a long time, road the subways, saw a lot of awkwardness, but they're just interesting. They're not cookie cutter. They're usually very colorful characters. They see things different ways and, I don't know, its just a kind of - just a kind of life that interesting to me.
Polar' is based on the first and a little bit on the second book and all the characters from those novels are in there. The story is based on the graphic novel, but when it came to the execution of the film I felt I couldn't really make a movie without any dialogue.
For me, I need to fully immerse myself in a script to the point where I'm literally locking myself away for weeks at a time and I just write it. So I can write twelve to fifteen hours in a day, with breaks in between, obviously, but I need to just sort of live within the world of the script.
The script in many ways is limiting and novel is liberating. You get to go into the heads of your characters and their background and have fun with them; something you are discouraged from doing with a script. With the novel, I can tell you what the characters are thinking, I can tell you their view of the world, background information, things I wouldn't dare touch in the script.
Gerry Lopez was a famous surfer back then and his board had a lightning bolt in the in the middle, so my Dad made me a surf/skateboard with a lightning bolt on it.
When I first heard the 'Urumi' script, I was surprised, shocked, and excited. It was a strong script with a reference to the past. It had fact mixed with fiction. To incorporate facts into a film and introduce fictional characters was interesting. I loved the script.
One easy mistake to make with the first novel is to expand the short story. Some things are better as a story; you cannot dilute things into a novel. I think the first hundred pages of a novel are very important. That's where you set things up: the world, the characters. Once you've set that up, it'll be much easier.
Poetry for me is very easy. It's like a lightning bolt. I feel this calling, and the first line of the poem comes into my head, and I just have to go to the page, to the typewriter, to the computer or whatever and write it.
Within 24 hours of my departure from Everton, I had already received the first offer. Then they kept coming, but I keep it all away from me.
When I wrote my first book, 'The Tennis Party', my overriding concern was that I didn't write the autobiographical first novel. I was so, so determined not to write about a 24-year-old journalist. It was going to have male characters, and middle-aged people, so I could say, 'Look, I'm not just writing about my life, I'm a real author.'
Way back before the 'Alex Barnaby' series was first published, we were talking with Dark Horse then about making it into a graphic novel of some sort. We just couldn't get it together at the time; we had too many projects going on. We weren't sure how we wanted to bring it forward.
When I read 'Watchmen,' it changed my view of so many things. It was the first time I'd read a graphic novel really like that.
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