Terry Goodkind Quotes

I've always said fantasy is sort of 'stealth philosophy'.

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.

My secrets must be poetic to be believable.

I absolutely adore working in the realms of fantasy.

Realism isn't something most people associate with the fantasy genre, yet it's an essential element of great fantasy writing.

I have been writing fairy tales for as long as I can remember. Not much has changed in terms of my natural attraction to the narrative techniques of fairy tales. My appreciation of them in the traditional stories has deepened, especially of flat and unadorned language, intuitive logic, abstraction, and everyday magic.

As a child, I loved fairy tales because the story, the what-comes-next, is paramount. As an adult, I'm fascinated by their logic and illogic.

I think fiction is a very serious thing, that while it is fiction, it is also a revelation of truth, or facts.

I love fairy tales because I think that behind fairy tales, there is always a meaning.

If you're a fan of anything I do, I'm always telling a story. I'm into that - I like it when you don't know if it was true or not.

Reading 'Search Sweet Country' is like reading a dream, and indeed, at times, it feels like the magical landscapes of writers like the Nigerian Ben Okri or the Mozambican Mia Couto.

I wrote a lot of scripts that were dark and fairy tale-like, but too strange.

I love stories, I love myths, I love fairytales, I love Kafka.

Well, Company of Wolves was about that literally, about fairy tales.

There is a real connection between Philosopy and fiction.

From Shakespeare to Robi Thakur, everyone has written stories about people and incidents around them. There is no creativity minus reality irrespective of how flowery or abstract you make it.

The genres of the fantastic and the grotesque are far more interesting to me than most mnemonic fiction.

Contrary to what Kafka does, I always like to refer all of my fictions to the level of reality, He, on the other hand, leaves them at an imaginary level.

Myth and fairy-story must, as all art, reflect and contain in solution elements of moral and religious truth (or error), but not explicit, not in the known form of the primary 'real' world.

Fiction is a piece of truth that turns lies to meaning.

I think I have a God complex, and I like moving mountains and writing stories that affect entire worlds, and it's a bit hard to do that in a contemporary setting because you have reality intruding. Whereas, when you set your own reality, you can make up your own rules and do whatever you like.

I'm fascinated with the stories that we tell. Real histories become fantasies and fairy tales, morality tales and fables. There's something interesting and funny and perverse about the way fairytale sometimes passes for history, for truth.

Fantasy is my genre and my home in the writing world. I consider it the biggest writing room in all literature, where there are literally no boundaries at all.

I always felt that sci-fi and fantasy were my thing. Bit of a geek, I'm afraid. But I like creating worlds, and I felt it was a genre that gave me more freedom. It just seemed like I belonged there.

Truth may be stranger than fiction on a plot and narrative basis, but fiction can investigate tone in a way that things based on a true story can't.