A Quote by R. A. Salvatore
Whenever you're writing a book or creating a movie or a game, your first task is to get the reader to suspend disbelief, to buy into the logic and boundaries of your world, even though those boundaries might include things like dragons and magic.
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Whenever you're writing a book or creating a movie or a game, your first task is to get the reader/audience/player to suspend disbelief, to buy into the logic and boundaries of your world, even though those boundaries might include things like dragons and magic. To do that, you need long threads - of history and culture.
When people show you their boundaries ("I can't do this for you") you feel rejected...part of your struggle is to set boundaries to your own love. Only when you are able to set your own boundaries will you be able to acknowledge, respect and even be grateful for the boundaries of others.
When you're even on a regular movie set, you still have to suspend your disbelief. You're working there with only 3 walls of a room, and you're in costume, and you have a camera 6 inches from you and have a crew of 75 watching you. So even there, you have to crank up your imagination.
A piece of writing has to seduce the reader; it has to suspend disbelief and earn the reader's trust.
When you do your collection, you are much more free. You have fewer boundaries. When you work on a movie, you have to take into consideration the story, the plot, the vision of the director, even the physique of your cast. And then on top of all this, you want your imagination, your taste, and your ideas to come through. But a movie is forever.
Suspend for a moment your disbelief and encounter once again the sense of wonder you knew when there was... magic!
When you have a movie about people landing from planet Neptune, you suspend disbelief. I totally get it. But I like doing things that happen in real life.
Gods, religions and national boundaries are absolutely imaginary. They don't tend to exist. As soon as you pull back half a mile and look down at the Earth there are no national boundaries. There aren't even national boundaries when you get down and walk around. They're just imaginary lines we draw on maps. I just get fascinated by people who assume that things that are imaginary have no relevance to their lives.
As you get older and as you experience and go through different things you realize you have to set boundaries. You have to for your life. You have to say this is OK and this is not OK. This is what I do for a living and this is my life. It's the only one I get and so I have to set boundaries.
When you're the most successful person in your family, in your neighborhood, and in your town, everybody thinks you're the First National Bank, and you have to figure out for yourself where those boundaries are.
In any kind of comic scene you're going to perhaps push the boundaries of plausibility but as long as there is some semblance of logic I think as an audience you'll buy it and as an actor, when it comes to playing things like that, it gives you something to delve into. When I don't buy into a comic scene is the type of scenario where you'd just go: "Well, that would never happen."
It's absurd to think of 'Pride and Prejudice,' this classic, beloved book, beset with a zombie uprising. The goal is to make you suspend your disbelief enough to allow you to get lost in the story and believe what you're reading for a while.
You have to suspend disbelief a little bit to buy into your situation and to the story and to how the character will react. You have to tweak your credibility a little bit, is basically what it comes down to.
When it comes to acting, people talk about the suspension of disbelief that you ask of the audience. Before that starts, you have to, as an actor, suspend your own disbelief.
Publishing a book is a great thing, and I'm grateful, but it's also a horrible, exposing thing. Once you've published a book, you never write quite as freely again. You're aware, from that point onward, of the kinds of things critics might say about it. You're aware of the kinds of things your publishers might like and dislike about it. You're half-aware of marketing strategies - of all the stuff around the book. Whereas with your very first piece of fiction, if you're lucky, those things barely occur to you at all.
There is no magic in all the world like that magic when you sell your first bit of writing.
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