A Quote by John DeChancie

If Robert Benchley and Dorothy Parker had teamed up to write epic fantasy, something like Split Heirs might have resulted. — © John DeChancie
If Robert Benchley and Dorothy Parker had teamed up to write epic fantasy, something like Split Heirs might have resulted.
My first three manuscripts were epic fantasy - like high fantasy - and then the fourth one was a historical fantasy about Mozart as a child. I still have a soft spot for that one!
Phoebe Wolkind Ephron cracked wise like Dorothy Parker and looked like Katharine Hepburn.
Robert Benchley has a style that is weak and lies down frequently to rest.
Many of the writers who have inspired me most are outside the genre: Humorists like Robert Benchley and James Thurber, screenwriters like Ben Hecht and William Goldman, and journalists/columnists like H.L. Mencken, Mike Royko and Molly Ivins.
Nobody ever wrote better about domestic things than Robert Benchley.
I wouldn't know how to write a weak female character. I read so much epic fantasy growing up, where you have these sword-wielding, in-your-face warrior maidens.
I find fantasy easier to write. If I'm going to write science fiction, I spend a lot more time thinking up justifications. I can write fantasy without thinking as much. I like to balance things out: a certain amount of fantasy and a certain amount of science fiction.
Before my teens, my contemporaries were reading Tolkien and were absorbed by his works, but try as I might, I could not be drawn in, perhaps as something in me resists the epic, medieval-feeling fantasy.
I think every writer of detective fiction writing today has been influenced by Mr. Parker. I'm of a generation that followed Robert Parker, and it was impossible to read the genre and not be influenced by him.
My father had declared a predilection for heirs general, that is, males and females indiscriminately.... I, on the other hand, had a zealous partiality for heirs male, however remote.
Whether it's Dorothy Parker or Oscar Wilde, they're brilliant with genius bon mots. Of course, I find them extraordinary.
I think I'll give it up, the fantasy is over, I wanted to play Spiderman, Peter Parker.
I think it's good to have a balance. Everything I write about, it's not something I necessarily might have went through, there's songs where I might have an idea, sometimes it might be a melody or something that I like, I make up a story to go with that melody. But I do think it's most important to have honest songs.
Would you convey my compliments to the purist who reads your proofs and tell him or her that I write in a sort of broken-down patois which is something like the way a Swiss waiter talks, and that when I split an infinitive, God damn it, I split it so it will stay split, and when I interrupt the velvety smoothness of my more or less literate syntax with a few sudden words of bar-room vernacular, that is done with the eyes wide open and the mind relaxed but attentive.
One might point to the great illumination that has resulted from Freud's analysis of the abracadabra of our dreams. No one can any longer dismiss the fantasy because it is logically inconsistent, superficially absurd, or objectively untrue.
I think it is our job, as writers, to be epic. Epic and tiny at the same time. If you're going to be a fiction writer, why not take on something that means something. In doing this, you must understand that within that epic structure it is the tiny story that is possibly more important.
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