A Quote by Michelle Paver
It's true to say that once I've got the bare bones of a story, I often get ideas from my own research trips to faraway places.
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People often ask authors where their ideas come from, and often authors say they don't know. But I do know about this one. Once upon a time, my wife and I had three small children -- two boys and a girl, just like in the story. And when they were young, we used to tell them a story very like YOU'RE ALL MY FAVORITES.
I get my ideas for books from my own kids and sometimes from other children. Often when I am telling stories I will say: I am going to make up a new story.
Does research get in the way of the story? It certainly can. Anything can, given that as writers we're all geniuses at procrastination. But mostly research teaches me about the world. Which often shows me the way, in terms of the story.
With more time I like to see the actors find something of their own places, so I can get their own ideas before I put mine in. Given they have a better idea more often enough.
I say what other people only think, and when all the rest of the world is in a conspiracy to accept the mask for the true face, mine is the rash hand that tears off the plump pasteboard and shows the bare bones beneath.
Research, for me, it's trying to get a mood, a mood of a place and style of people and it's also trying to boost my confidence and get the adrenalin flowing. I go off on my trips to odd places and dark corners, feeling somewhat apprehensive and nervous.
I read individual stories a lot in magazines and other places, too, but I really think there's something to be said for reading story collections as collections. That's not true of all story collections, to be honest, but for good ones I think it often is true.
People need meeting places. You need places where ideas get exchanged and you see each other's faces once in a while.
For many years I thought my job was to go to places where it would be difficult for most of the readers to ever get to. Now, in the more than 20 years I've been doing this, the concept of adventure-travel trips or expeditions by groups has sprung up. The places I went 20 years ago now have adventure-travel trips.
It must be that people who read go on more macrocosmic and microcosmic trips – biblical god trips, the Tibetan Book of the Dead, Ulysses, Finnegan’s Wake trips. Non-readers, what do they get? (They get the munchies.)
Our ignorance of the cosmos is too vast to commit to atheism, and yet we know too much to commit to a particular religion. A third position, agnosticism, is often an uninteresting stance in which a person simply questions whether his traditional religious story (say, a man with a beard on a cloud) is true or not true. But with Possibilianism I’m hoping to define a new position - one that emphasizes the exploration of new, unconsidered possibilities. Possibilianism is comfortable holding multiple ideas in mind; it is not interested in committing to any particular story.
When I write for teens, I feel I can cut through everything and get to the bare bones. I can get straight into the emotional world of the character.
I was one of seven, and we took a lot of road trips - long road trips. And this was before iPhones and iPads and DVD players in cars. I remember how novel it was when I got my own Walkman so I could listen to music.
f you're making the scene as a director, you're looking for alternatives, once you've got to that place that's very much in Rowan's [Atkins] head, to see if you can take it further, in some places. Sometimes you do absolutely know there's something there. You just feel it in your bones.
I get ideas from my own personal experiences, from my imagination, and from my research and from old stories.
We are often in two places at once. In fact we are usually in at least two places and occasionally the contrast is evident....Here, most often, is nothing more than the best perspective to contemplate there.
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