Brian Stelfreeze Quotes

I suspect there are two kinds of novelists. Those who have a point of view and have something to say and then write a novel in order to say that thing, and those of us who write the book in order to find out what we think about that thing.

I think I've written 40 books, and none of them have been heavy on action. I'm an introspective person.

I don't like to talk about work in progress, but the novel I'm working on now is definitely not horror.

A novel is utterly your own creation, a very private process. I think of a novel as a noun and a screenplay as a verb. In a novel, very little needs to happen; you can explore a person's memories and thoughts and fantasies. In a screenplay, it's all action; you must push the story on.

Of course, all writers draw upon their personal experiences in describing day-to-day life and human relationships, but I tend to keep my own experiences largely separate from my stories.

I have no favourite genre or style but treat each novel with the same care, imagination and craftsmanship. It's as difficult to write a crime or a children's novel with a touch of style and grace as it is a literary novel.

I'm more interested in character than events. I've observed that about myself as a writer. I find events, even the most dramatic sort, not to be such fertile ground.

Writing 'when you find me,' it really exposed me to a way of putting together a story I hadn't thought of.

I write easily, let's put it that way. And in a novel particularly, the characters take over. And they tell me what to say and they tell me what they're doing. And I'm a third of the way into a novel and then I just let the characters finish it for me.

I see every book as a problem that you have to solve. That is what dictates the form you use. It's not that you say, 'I want to write a science fiction book.' You start from the other end, and what you have to say dictates the form of it.

My fiction-writing DNA shows in how I think about prose, how I think about the page, how I think nonfiction stories should work. And every piece of nonfiction I write, I want it to have fictional texture.

For me as a writer, the story has always taken precedence over everything else. I have never sat down to write with broad, sweeping ideas in mind, and certainly never with a specific agenda.

I don't really do themes. I might accidentally, but themes are an emergent phenomena of the writing of the book, of just trying to get a story out there.

I have heard of novels started in the middle, at the end, written in patches to be joined together later, but I have never felt the slightest desire to do this.

When I sit down to write, I don't think about writing about an idea or a given message. I just try to write a story which is hard enough.

I write in a pretty straightforward way. I kind of sit down at page one and start writing.

There are writers whose first drafts are so lean, so skimpy, that they must go back and add words, sentences, paragraphs to make their fiction intelligible or interesting. I don't know any of these writers.

I think it's much more natural as a writer to want to tell one story rather than lots of small stories that are half an hour long.

I can't really write anything without knowing the ending. I don't know how people do that. Even with my superhero stuff, I have to know at least where I want to take the characters and what the ending of my story with them will be. I just can't structure stories or character arcs and stuff without knowing the endpoint.

Fiction and nonfiction, for me, involve very different processes.

I don't really think in terms of making something that is going to be bought everywhere, because I don't read those things. My writing is a process in which I try my best to make good sentences and a sequence of events that is compelling and believable.

My shorthand answer is that I try to write the kind of book that I would like to read. If I can make it clear and interesting and compelling to me, then I hope maybe it will be for the reader.

Sometimes, in certain stories, I think we know at the outset essentially what the tone is going to be, or it becomes important that we're groping toward some kind of story with a certain kind of tone that we both get somehow. But I don't think how that's combined with other elements is ever in any way overtly discussed.

I don't know if it's good or bad, but when I first started writing I imitated the narrative thrust of a movie. And as I worked, I learned what you can do in fiction that you can't do in movies, and vice-versa.

I'm always writing across the same themes. But with short stories, I'm doing something different than with novels. In some ways, they're coming from a much deeper place.