A Quote by Nicholas Sparks

Working on a novel is very solitary and I get to be the boss. I'm the dictator, so I win every battle. So, in that sense, novels are easier because you don't have to answer to anyone. And then, you go into something like film and there are more cooks in the kitchen, so to speak.
No one who cooks, cooks alone. Even at her most solitary, a cook in the kitchen is surrounded by generations of cooks past, the advice and menus of cooks present, the wisdom of cookbook writers.
No one who cooks, cooks alone. Even at her most solitary, a cook in the kitchen is surrounded by generations of cooks past, the advice and menus of cooks present, and the wisdom of cookbook writers.
TV becomes easier because you get to spend time with that character. It's going to go on for a while, and the more you know something, the easier it becomes, the less nerves you have about it, and the better it is for improv because you have that camaraderie between cast regulars. In film, it's harder because you got to get in and get out.
In your dread of dictators you established a state of society in which every ward boss is a dictator, every private employer a dictator, every financier a dictator, all with the livelihood of the workers at his mercy, and no public responsibility.
If I can give a young author any advice, whatsoever, never let anyone announce the film sale of your first novel. Film rights are sold to almost every novel, but it shouldn't be the lead story in your first engagement with the press. Then you end up getting reviews like "a novel made for the screen" and things like that.
I'm grateful that I had that uphill battle for 10 years of going onstage and having nobody know who I was, because you have to win them over. I have a lot of friends who were stand-ups, and they just stopped after a while, because they didn't like that battle. And then they would get on a sitcom and get visible and get back into it, because the audience was just way easier on them. That's why they're okay stand-ups, but they're never going to be great, because they don't have that presence. They never built those muscles up.
When you get something like MTV, it's like regular television. You get it, and at first it's novel and brand new and then you watch every channel, every show. And then you become a little more selective and more selective, until ultimately... you wind up with a radio.
It's far easier to write why something is terrible than why it's good. If you're reviewing a film and you decide "This is a movie I don't like," basically you can take every element of the film and find the obvious flaw, or argue that it seems ridiculous, or like a parody of itself, or that it's not as good as something similar that was done in a previous film. What's hard to do is describe why you like something. Because ultimately, the reason things move people is very amorphous. You can be cerebral about things you hate, but most of the things you like tend to be very emotive.
Solitary. But not in the sense of being alone. Not solitary in the way Thoreau was, for example, exiling himself in order to find out where he was; not solitary in the way Jonah was, praying for deliverance in the belly of the whale. Solitary in the sense of retreat. In the sense of not having to see himself, of not having to see himself being seen by anyone else.
In the NFL you can't say this game is the biggest game ever and you get all pumped up and you go win and then you're like 'alright we did it' and then you go out and you play bad for the next two or three. Like every week you've got to be ready to go because they're all big games.
Up until then, whenever anyone had mentioned the possibility of making a film adaptation, my answer had always been, ‘No, I’m not interested.’ I believe that each reader creates his own film inside his head, gives faces to the characters, constructs every scene, hears the voices, smells the smells. And that is why, whenever a reader goes to see a film based on a novel that he likes, he leaves feeling disappointed, saying: ‘the book is so much better than the film.
The person I enjoy working for more than anyone else is George Lucas. He's the best boss I ever had because he's the most talented boss I ever had.
With a novel, you have to have a story. It's much more important to have it matter to the reader what happens to people, and it has to make sense and end in a way that is satisfying. So I spend a lot more time thinking about that. Then the writing itself usually is easier for me, because I know where it's going.
I released that I could crank out a song if I practiced it a lot. If I am in the practice of writing songs everyday or every other day, getting ideas and following through with them, and not just saying "I've got this idea, but I will get to it at some point." If I actually sit down and not be lazy, and follow through with it then you just get in the practice of doing things. It feels very productive, and then it gets a lot easier, because you are working the muscle in your brain. The "song-writing muscle" so to speak.
I mean, every novel's a historical novel anyway. But calling something a historical novel seems to put mittens on it, right? It puts manners on it. And you don't want your novels to be mannered.
Every novel is like this, desperation, a frustrated attempt to save something of the past. Except that it still has not been established whether it is the novel that prevents man from forgetting himself or the impossibility of forgetfulness that makes him write novels.
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