A Quote by Ray Bradbury
A reason I became a writer was to escape the hopelessness and despair of the real world and enter the world of hope I could create with my imagination.
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Our world today so desperately hungers for hope, yet uncounted people have almost given up. There is despair and hopelessness on every hand. Let us be faithful in proclaiming the hope that is in Jesus.
In that way, any world you create will become real. The reader makes it so. The reader becomes implicated in the creation of the world, complicit with the writer. It's the best sort of bond with audience that a writer can hope for, but it demands a great deal of trust on both sides.
We can't escape from the world anymore; we can't escape from the mind. We need to enter surrender while we are in the world. That seems to be the path that is effective in the world that we live in now.
It's despair at the lack of feeling, of love, of reason in the world. It's despair that anyone can even contemplate the idea of dropping a bomb or ordering that it should be dropped. It's despair that so few of us care. It's despair that there's so much brutality and callousness in the world. It's despair that perfectly normal young men can be made vicious and evil because they've won a lot of money. And then do what you've done to me.
The split in America, rather than simply economic, is between those who embrace reason, who function in the real world of cause and effect, and those who, numbed by isolation and despair, now seek meaning in a mythical world of intuition, a world that is no longer reality-based, a world of magic.
I looked at basketball as something that I love and escape from the real world, and in order to continue to escape the real world, you got to work hard at it.
Why one writes is a question I can answer easily, having so often asked it of myself. I believe one writes because one has to create a world in which one can live. I could not live in any of the worlds offered to me - the world of my parents, the world of war, the world of politics. I had to create a world of my own, like a climate, a country, an atmosphere in which I could breathe, reign, and recreate myself when destroyed by living. That, I believe, is the reason for every work of art.
Through imagination, thanks to the subtleties of the irreality function, we re-enter the world of confidence, the world of the confident being, which is the proper world for reverie.
I often hear people say that they read to escape reality, but I believe that what they’re really doing is reading to find reason for hope, to find strength. While a bad book leaves readers with a sense of hopelessness and despair, a good novel, through stories of values realized, of wrongs righted, can bring to readers a connection to the wonder of life. A good novel shows how life can and ought to be lived. It not only entertains but energizes and uplifts readers.
And then the spirit brings hope, hope in the strictest Christian sense, hope which is hoping against hope. For an immediate hope exists in every person; it may be more powerfully alive in one person than in another; but in death every hope of this kind dies and turns into hopelessness. Into this night of hopelessness (it is death that we are describing) comes the life-giving spirit and brings hope, the hope of eternity. It is against hope, for there was no longer any hope for that merely natural hope; this hope is therefore a hope contrary to hope.
Hopelessness may be the saddest word in our language. Despair is the enemy of our souls. It can paralyze us, halt our progress, and cause us to lose our way. But hope awakens us like a light shining in the darkness. We can endure all things when our hope is centered in one who will never fail us-our Savior, Jesus Christ, who is the light of the world.
I was definitely looking for a reason to impose rules in the story during the writing process... a set of reasons that you could graph for why it's not chaos and anarchy - for why it has to be order, and why you need architects and an architectural brain to create the world of the dream for the subject to enter.
Whenever I write for television, I plan the story on whiteboard wallpaper in my office, using a system created by the American writer Dan Harmon. It's remarkably simple: a character wants something; they enter a new world and adapt to it; they get what they want, re-enter the old world and change.
I became an actress because I discovered the world of the imagination when I was about 14 or so and the concept that you could engage in this amazing world of storytelling. I saw a production of Hamlet, and I didn't know Hamlet died in the end.
Only one same reason is shared by all of us: we wish to create worlds as real as, but other than the world that is. Or was. This is why we cannot plan. We know a world is an organism, not a machine. We also know that a genuinely created world must be independent of its creator; a planned world (a world that fully reveals its planning) is a dead world. It is only when our characters and events begin to disobey us that they begin to live.
I think architecture could be understood as the construction of realities, or the construction of worlds. One of the reasons why architects are often attracted to philosophers, partially, has to do with making sense of the world around us as well as the making of worlds, and in our case, the realities we create can be as real as concrete. These kinds of ideas, of wild imagination, go into the question of how you make a world.
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