A Quote by Stephen King

Once I start work on a project, I don’t stop and I don’t slow down unless I absolutely have to. If I don’t write every day, the characters begin to stale off in my mind – they begin to seem like characters instead of real people. The tale’s narrative cutting edge starts to rust and I begin to lose my hold on the story’s plot and pace. Worst of all, the excitement of spinning something new begins to fade. The work starts to feel like work, and for most writers that is the smooch of death.
I see this with experienced writers, too: They worry so much about the plot that they lose sight of the characters. They lose sight of why they are telling the story. They don't let the characters actually speak. Characters will start to dictate the story in sometimes surprising, emotional, and funny ways. If the writers are not open to those surprises, they're going to strangle the life, spark, or spirit out of their work.
To any writer: Teach yourself to work in uncertainty. Many writers are anxious when they begin, or try something new. Even Matisse painted some of his Fauvist pictures in anxiety. Maybe that helped him to simplify. Character, discipline, negative capability count. Write, complete, revise. If it doesn't work, begin something else.
Do you ever get moods when life seems absolutely meaningless? It's like a badly-constructed story, with all sorts of characters moving in and out who have nothing to do with the plot. And when somebody comes along that you think really has something to do with the plot, he suddenly drops out. After a while you begin to wonder what the story is about, and you feel that it's about nothing—just a jumble.
When I work there are two distinct phases: the phase of pushing the work along, getting something to happen, where all the input comes from me, and phase two, where things start to combine in a way that wasn't expected or predicted by what I supplied. Once phase two begins everything is okay, because then the work starts to dictate its own terms. It starts to get an identity which demands certain future moves. But during the first phase you often find that you come to a full stop.
I think you get in a situation where once you start hearing the boos and hearing the radio stations talk and people on the outside begin to bring your name up of being benched, then you begin to lose focus, and now your play begins to fall and you begin to focus on other things.
Each time I'm starting to work on a film, even if I love to settle the plot in the real world, I start to think about the plot as a fairy tale, or a dream, or a nightmare... As if it was the best way to tell the truth about characters or narration, instead of realism.
In a story, you can turn to the front and begin again and everyone lives once more. That doesn't work in real life. And I love my real people the most.
Barrie and the wonderful characters he created, Lewis Carroll, even French literature, like Baudelaire or over in the States, Poe, you open those books, you open The Flowers of Evil and begin to read. If it were written today, you'd be absolutely stupefied by the work. It's this incredible period where the work is timeless, ageless. So yeah, I just love all those guys. It's my deep passion in those great 19th century writers.
Lose the day loitering, 'twill be the same story To-morrow, and the next more dilatory, For indecision brings its own delays, And days are lost lamenting o'er lost days. Are you in earnest? Seize this very minute! What you can do, or think you can, begin it! Only engage, and then the mind grows heated; Begin it, and the work will be completed.
Once we know the plot and its surprises, we can appreciate a book's artistry without the usual confusion and sap flow of emotion, content to follow the action with tenderness and interest, all passion spent. Rather than surrender to the story or the characters - as a good first reader ought - we can now look at how the book works, and instead of swooning over it like a besotted lover begin to appreciate its intricacy and craftmanship. Surprisingly, such dissection doesn't murder the experience. Just the opposite: Only then does a work of art fully live.
Usually, people begin with very clear ideas of good movies, they begin with clear ideas about their characters, and then, as they do sequels, they seem to forget the characters more and more, and try to out-spectacle.
I don't know if make a conscious effort to vary the characters and subjects that I write about, but I do find myself keeping track of ideas that come along, as probably most writers do, and whatever seems most interesting to me when I flip through my notes before I begin a new story is usually what I will try to write about next.
When I create characters, I create a world to inhabit and they begin to feel very real for me. I don't belong in a psych ward, I don't think, but they become very real, like my own family, and then I have to say goodbye, close the door, and work on other things.
Thus, the question of how and when to start vagabonding is not really a question at all. Vagabonding starts now. Even if the practical reality of travel is still months or years away, vagabonding begins the moment you stop making excuses, start saving money, and begin to look at maps with the narcotic tingle of possibility. From here, the reality of vagabonding comes into sharper focus as you adjust your worldview and begin to embrace the exhilarating uncertainty that true travel promises.
Every story I write starts with a dilemma or a theme. Once I am convinced that this is the issue that is perturbing my thoughts, I start to look for characters capable of representing it.
A lot of Christians have been taught a story that begins in chapter 3 of Genesis, instead of chapter 1. If your story doesn't begin in the beginning, but begins in chapter 3, then it starts with sin, and so the story becomes about dealing with the sin problem. So Jesus is seen as primarily dealing with our sins.
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