A Quote by Neil Gaiman

There are characters in some short stories who exist as people, and there are other characters in different short stories who exist as purely literary constructs. You know, the young man in "Forbidden Brides of the Faceless Slaves in the Secret House of the Night of Dread Desire" - I probably got that right - is a literary construct, and enjoys being a literary construct. He has no life off stage, whereas the young men in "How to Talk to Girls at Parties" were as near to being real human beings as I could possibly get them.
It is my belief that we as human beings have a need to tell stories - I think it's evolutionary. So you can think of the short story as a literary form, or you can instead think of stories.
I always thought that life is full of stories and characters that feel like literary stories and characters. So when I started making documentaries, they weren't humble empirical things, just following people around. I was always trying to impose a story.
The short story is not as restrictive as the sonnet, but, of all the literary forms, it is possibly the most single-minded. ...at the end there has to be the literary equivalent of the magician's puff of smoke, an outcome that is both startling and anticipated.
I’m not club-able, you see. I don’t like literary parties and literary gatherings and literary identities. I’d hate to join anything, however loosely.
I notice a lot of younger artists have difficulty telling stories. They might have short stories where they express themselves well, but they don't really know how to tell stories with characters. That craft just passed them by.
There are characters in movies who I call 'film characters.' They don't exist in real life. They exist to play out a scenario. They can be in fantastic films, but they are not real characters; what happens to them is not lifelike.
Plays are wonderfully different than short stories, first because it's a story that's on a stage, but there's a different sort of tension that appears on stage - you get to see your characters in a different way - like with lights.
But a writer's contribution is literary and a film is not literary. When you take that stuff off the page, and cast the people who are going to fit into those roles, that's what being a director is.
We talk about characters in literature as though they were built on the model of the real person, but then I often think that the way we present ourselves as real people is based heavily on the way literary psychologies are stylized, and I wonder how the two forms of realistic personhood feed on or fulfill each other.
I was writing very early, like I was involved in our high school literary magazine, which was called 'Pariah.' The football team was the Bears, and the literary magazine was 'Pariah.' It was great. It was definitely a real sub-culture. But I wrote stories for them.
Though now we think of fairy tales as stories intended for very young children, this is a relatively modern idea. In the oral tradition, magical stories were enjoyed by listeners young and old alike, while literary fairy tales (including most of the tales that are best known today) were published primarily for adult readers until the 19th century.
The Booker thing was a catalyst for me in a bizarre way. It’s perceived as an accolade to be published as a ‘literary’ writer, but, actually, it’s pompous and it’s fake. Literary fiction is often nothing more than a genre in itself. I’d always read omnivorously and often thought much literary fiction is read by young men and women in their 20s, as substitutes for experience.
A female writer does definitely get more attention if she writes about male characters. It's true. It's considered somehow more literary, in the same way that it's more literary to write about supposedly male subjects, such as war. You're considered more seriously by the literary establishment.
In order to know whether a human being is young or old, offer it food of different kinds at short intervals. If young, it will eat anything at any hour of the day or night.
So I found myself telling my own stories. It was strange: as I did it I realised how much we get shaped by our stories. It's like the stories of our lives make us the people we are. If someone had no stories, they wouldn't be human, wouldn't exist. And if my stories had been different I wouldn't be the person I am.
People who rarely read long books, or even short stories, still appreciate the greatest examples of the shortest literary genres. I have long been fascinated by these short genres. They seem to lie just where my heart is, somewhere between literature and philosophy.
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