A Quote by Robert Cormier
When I write, I never think of segments as chapters; I think of them as scenes. I always visualize them in my mind. Then I try to get the scene down on paper as closely as I can. That's the one thing that readers don't see - what you have in your mind. The reader can only see what you get on the page.
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None of the chase scenes that I did had any opticals. We had to do all of that physically. The first thing you have to do is see it in your mind's eye. You have to envision it. Imagine someone knitting a sweater or a scarf. They either have a pattern in front of them, or they see a pattern in their mind's eye. Then it's one stitch at a time. That's what shooting a chase is like.
I don't think you see your minds. I think you see your thoughts; you see your desires; you see your relatives, friends, lovers, enemies. I don't think you see your mind. You think of the mind as the clutter.
I'm never lonely when I'm writing, because you live with the characters that are so alive in your mind. And you really see them and know them and get to be friends with them.
I really only write about inner landscapes and most people don't see them, because they see practically nothing within, because they think that because it's inside, it's dark, and so they don't see anything. I don't think I've ever yet, in any of my books, described a landscape. There's really nothing of the kind in any of them. I only ever write concepts. And so I'm always referring to "mountains" or "a city" or "streets." But as to how they look: I've never produced a description of a landscape. That's never even interested me.
Titles are important; I have them before I have books that belong to them. I have last chapters in my mind before I see first chapters, too. I usually begin with endings, with a sense of aftermath, of dust settling, of epilogue.
When I glare, I don't see it as aggression. I have just got such passion to get wickets. I don't ever say anything, I just have a look and see if I can get their mind concentrating on other things and get them outside their bubble. I like to get them switched on, have a look and get in a bit of a battle.
It's mind control, see. You have to go to school, get those exams, get to university or college, get a job, get married, don't miss the boat, do it now or you'll shoot your life down the drain. Yeah. They got you as soon as you were born. They never risked a second of your life. When you have kids they'll be telling them they have to wear a plastic mask and put a penny in the slot about their nose before they can breathe in.
Art and money are closely related. Try sitting down with a group of artists and ask them what's on their mind. Very quickly the topic shifts to money. And it can be very hard to get them off that subject.
When you're casting, you have to do quite a bit of research. But I always think you have to do it with a pinch of salt with actors, because it's so unfair to pigeonhole them and so often they are. I try to be as open as possible and if people are really interested and really want to have a go, then let's get them in and see them.
I think, for me specifically when it comes to music, I don't think that I need any persuading to think about it. It's always kind of in the back of your mind and - but I think it's part of who I am and always will be, I mean, in a very cellular way. When you grow up doing, you know, one thing, I think you get to this place where you want to try new things. And I do think that we live in the type of world where people get comfortable with you in one way, and so seeing you in a different way, it takes some time.
I think television is about the characters you want to see again, and so you want to invite these people into your home. And certainly, seeing them get into bad situations and then watching them have to get themselves out, that's always super satisfying.
Doing graphic novels is cool! It's fun! You get to write something, and then see it visually page by page, panel by panel, working with the artist, you get to see it fleshed out.
I don't consciously try to take my readers on a journey as I don't really think about my readers when I'm writing. I just try to write what I feel passionately about, to tell a story down onto the page.
The desire to be liked is acceptable in real life but very problematic in fiction. Pleasantness is the enemy of good fiction. I try to write on the premise that no one is going to read my work. Because there's this terrible impulse to grovel before the reader, to make them like you, to write with the reader in mind in that way. It prevents you doing work that is ugly or upsetting or difficult. The temptation is to not be true to what you want to write and to be considerate or amusing instead. I'm always trying to fight against the impulse to make my readers like me.
If I can get them to think, get them to feel, get them to see, then I've done about all that I can as a teacher.
Take a good look at your mind. Examine it closely. The first thing you will come to know is that the mind has become the master - not you and not your soul! The mind says: Do this! And you do it! If you don't the mind creates problems. It become sad, and the sadness of the mind becomes your sadness. If you do as it says you get nowhere, for the mind is blind. Where can you reach by obeying the mind! The is unconsciousness. If you listen to it you reach nowhere.
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