A Quote by Paolo Maldini
If as a child I had written a story, the best story that I could imagine, I would have written as indeed is happening to me.
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I had written a story. I wrote the story out of some desperation, really, and I didn't know I was writing a story, and it took me years. And when I finished, a friend of mine had the idea that the story should be read as a monologue in a theater.
There are certain scenes, certain hills and valleys and groves of pines which demand that a story shall be written about them. I would refine; I would say that the emotions aroused by these external things reverberating in the heart are indeed the story; or all that signifies the story....We translate a hill into a tale, conceive lovers to explain a brook, turn the perfect into the imperfect.
Tarjei Vesaas has written the best Norwegian novel ever, 'The Birds' - it is absolutely wonderful: the prose is so simple and so subtle, and the story is so moving that it would have been counted amongst the great classics from the last century if it had been written in one of the major languages.
Every story I've written was written because I had to write it. Writing stories is like breathing for me; it is my life.
I don't think I would have written a combat novel if I had just had peacetime military training. I think, in fact, I probably would have remained a poet and just written a short story every now and then.
Exhaustively researched and beautifully written, Cronkite is a classic. Douglas Brinkley has written his best book yet. This is a fascinating story that will be read for years to come.
We live in a society that is in transition from oral to written. There are oral stories that are still there, not exactly in their full magnificence, but still strong in their differentness from written stories. Each mode has its ways and methods and rules. They can reinforce each other; this is the advantage my generation has - we can bring to the written story something of that energy of the story told by word of mouth.
[It] was written and sold. I knew it was a strong story because I cared about it and believed in it. I had no idea that it would have the effect it had on the audience. While most people ignored it, of course, and continue to live full and happy lives without reading it or anything else by me, there was still a surprisingly large group who responded to the story with some fervency.
I have people constantly come up to me telling me that I have written their life. When I wrote the story I thought it was a pretty good story but I had no idea that many people felt like that.
And were an epitaph to be my story I'd have a short one ready for my own. I would have written of me on my stone: I had a lover's quarrel with the world.
I have seldom written a story, long or short, that I did not have to write and rewrite. There are single stories of mine that have taken me ten or twelve years to get written.
We improv-ed scenes that didn't happen in the movie. We improv-ed the scenes that are written in the movie without the dialogue as written. We played around a lot to try and figure out just how we could flow with what was already written in the story and how we could highlight those imbalances and those points at which we came to loggerheads.
I had written many things as a journalist, but I had no idea if I could write something scary or romantic or touching that wasn't me writing about someone else's life story. It was really exciting to try.
I never really wanted to be a writer. I know it sounds strange, but I honestly believe that I didn't pick the story; the story has picked me. I've written absolutely no fiction before 'The Immortals of Meluha.' Not even a short story in school - absolutely nothing.
The format of the book was the idea of my wonderful editor, Stephen Segal. Stephen and I had worked together before, on projects for the Interstitial Arts Foundation, and when he got the idea for an accordion-style book, he called and asked if I could write the story for it. I told him that I would love to try! And I knew it had to be a love story, because that's the sort of story you really want to hear from both perspectives. I mean, imagine if Pride and Prejudice were told from Darcy's perspective as well as Elizabeth's. It would be quite a different story!
Dean [Devlin, Emmerich's partner on "Independence Day"] and I always said that we'd only do it when we had a really good story that excites us both, and we have the story written. And we've had it for a year and a half, two years. So we've been ready.
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