A Quote by Jonathan Stroud

And then, as if written by the hand of a bad novelist, an incredible thing happened. — © Jonathan Stroud
And then, as if written by the hand of a bad novelist, an incredible thing happened.
Occasionally if I look back at something I've written I'll find one of those that I don't understand, but that's a bad thing - the unconscious has dealt me a bad hand.
If you are a novelist of a certain type of termperament, then what you really want to do is re-invent the world. God wasn't too bad a novelist except he was a Realist.
If you are a novelist of a certain type of temperament, then what you really want to do is re-invent the world. God wasn't too bad a novelist, except he was a Realist.
I was on a show called '12 Miles of Bad Road' with Lily Tomlin - it was an incredible HBO show. We shot 6 episodes, previewed it before the finale of 'The Sopranos;' it was written up as a 'Great New Show on HBO,' and then the whole thing was canned. Gone. Disappeared. That's when I realized anything can happen in this business.
The past and the future become unimportant. There is only that moment, and the incredible certainty that everything under the sun has been written by one hand only. It is the hand that evokes love, and creates a twin soul for every person in the world. Without such love, one’s dreams would have no meaning.
That show, The Sopranos put HBO on the map. So there I was - and then there I wasn't. Too bad. The same thing happened to me on Prison Break: I got the role of the governor on that, and then a handful of episodes later, I hanged myself.
It is less the business of the novelist to tell us what happened than to show how it happened.
To me, music and fashion are the same thing. A good designer is the same as an incredible musician, and the two go hand in hand.
We have an incredible capacity for the worst possible evil, all of us, it was that we also have this incredible capacity for good. And that is why we are all of us appalled when something bad happens. Because if the bad was the norm, we would just shrug our shoulders and say "well tough luck, this is how the cookie crumbles" kind of thing but none of us does that.
I know that sometimes it happens that a novelist is embarrassed about their early works. For me, it's the opposite: I believe 'Durable Goods' is the best thing I've written.
When I've acted, and it's not been something I've written or have had at least a hand in writing, I do think there is a controlling side of me that is frustrated by that. And I actually don't think that it's a bad thing, because if I'm going to be in movies, in large part they're going to be movies that I write.
I understand that I'm not perfect. I made mistakes and I had a hand in everything that's happened to me, good and bad.
I like writing for other people. I love it. It's great because you write it and then you hand it off to someone else. But in terms of directing, anything I direct will be something I've written or re-written. I'm in no crazy rush to direct.
When people write the history of this thing, of bitcoin, they are not going to write the story of 6 million to a billion. What is truly remarkable is the story of zero to 6 million. It has already happened! And we’re not paying attention! That’s incredible. That’s what had one chance in a million and it already happened.
One of the things about landays is that they thrive in a modern context. Early on I went to this incredible Pashtun novelist, Mustafa Salik, who is a bestselling novelist in Afghanistan and works for the BBC in Pashto. With the question of the sanctity of the poems in mind, I asked him, "Aren't you worried? They've been posted on Facebook and such." And he said, "Just the opposite. This is a folk form; they survive and thrive as people share them."
'Design Star' was incredible, and I didn't think it could get any better, and then 'Color Splash' happened.
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