A Quote by Ray Bradbury

Most of my stories are ideas in action. In other words, I get a concept, and I let it run away. I find a character to act out the idea. And then the story takes care of itself.
The usual method of creation for most human beings is a three-step process involving thought, word, and deed or action. First comes thought; the formative idea; the initial concept. Then comes the word. Most thoughts ultimately form themselves into words, which are often then written or spoken. This gives added energy to the thought, pushing it out into the world, where it can be noticed by others. Finally, in some cases words are put into action, and you have what you call a result; a physical world manifestation of what all started with a thought.
In most good stories, it is the character's personality that creates the action of the story. If you start with real personality, a real character, then something is bound to happen.
Thus, words being symbols of ideas, we can collect ideas by collecting words. The fellow who said he tried reading the dictionary but couldn't get the hang of the story simply missed the point: namely, that it is a collection of short stories.
As an activist, you do find yourself directed more toward public action. But I've always tried to use stories from my own life in my writing for instance. It has always been clear to me that the stories of each other's lives are our best textbooks. Every social justice movement that I know of has come out of people sitting in small groups, telling their life stories, and discovering that other people have shared similar experiences. So, if we've shared many experiences, then it probably has something to do with power or politics, and if we unify and act together, then we can make a change.
One of my standard - and fairly true - responses to the question as to how story ideas come to me is that story ideas only come to me for short stories. With longer fiction, it is a character (or characters) coming to visit, and I am then obliged to collaborate with him/her/it/them in creating the story.
Sacred play is anything that takes you into that right hemisphere of your brain. It turns out that this move away from left to the right hemisphere, that sense of expansiveness and everything, can be accomplished through unusual rhythmic action, or any action that requires so much attention away from words that you cannot think in words.
Most of the pilots I choose do not have high-concept ideas, so for me it's not the idea as much as the execution of the idea, and if the idea, like you take a bar in Boston, that's not a high-concept idea. But if it's executed well, it makes a great show.
Remember on this one thing, said Badger. The stories people tell have a way of taking care of them. If stories come to you, care for them. And learn to give them away where they are needed. Sometimes a person needs a story more than food to stay alive. That is why we put these stories in each other's memories. This is how people care for themselves.
You see, for me a painting is a dramatic action in the course of which the reality finds itself split apart. For me, that dramatic action takes precedence over all other considerations. The pure plastic act is only secondary as far as I'm concerned. What counts is the drama of that plastic art, the moment at which the universe comes out of itself and meets its own destruction.
I try to find out what there is in the character that in a way, you can't put into words. If I could put it into words, then it wouldn't be a performance. And if I do put it into words, as I play it, I start to get boxed in by those words.
Separate out the creative act from the act of editing and execution. Make it a two-step process. First, let ideas flow and encourage EVERY idea to make it to the whiteboard. Don't criticize, judge, edit, budget, or worry. An idea on the wall can't hurt anyone, so let them rip without restriction. After any and all ideas have the opportunity to "come out to play", only then should you apply your analytical and logical side to the effort. Don't mix the creative process with the editing process or you'll kill your ideas before they even get a fighting chance.
Let's get one thing clear right now, shall we? There is no Idea Dump, no Story Central, no Island of the Buried Bestsellers; good story ideas seem to come quite literally from nowhere, sailing at you right out of the empty sky: two previously unrelated ideas come together and make something new under the sun. Your job isn't to find these ideas but to recognize them when they show up.
You must find a way to express your ideas and compel your audience to react through the idea itself, and then figuring out what the best representative of that idea may be, and bringing it to life.
I always think out a problem as clearly as possible, and then act on it. My theory has always been to get started. The moment I get an idea I act upon it. If only people would act on more of their ideas, I am convinced they would lead more interesting lives.
I believe that stories find writers, writers don't find stories. With the 'Pendragon' series, I actually had multiple story ideas and decided that instead of writing them individually, I would create a character whose journey would thread them all together.
'Run' is exciting, about family secrets, the mystery surrounding them and the outdoor sport of parkour. The story itself is full of intrigue and action, but the parkour takes the story to another level. It was an absolutely incredible experience, working with experts from all over the country.
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