Story World Quotes

Cry Baby is about Cry Baby and the next album [which I think I have a title for but I don't wanna say anything yet because I don't know and it's too early] is a place in the weird town that I'm trying to create and its Cry Baby's perspective throughout this album. You're not learning about her, you're learning about the place that she's in and her perspective. Down the line for sure I will think of other characters in this world.

I believe that every character is a setting, a world with moving parts, and on the other hand, every setting is, in fact, a character - a living breathing thing with personality and backstory. The way stories come to life, at least for me, is when these elements commune in relationship to one another.

After all, you put a lot into creating a universe and everything that goes with it, and it seems a shame to use it only once.

Here I am, wasting away inside a book I wish I could escape, and all she wants to do is stay in the story. If I could talk to this girl Delilah, I’d ask her why on earth she would ever trade a single second of the world she’s in for the one in which I’m stuck

You can't visit readers where you think they are. You have to invite them home to where you are and try to lure them into your universe. That's the art of storytelling.

In the end, all worlds, whether they're set in the future or in New Jersey of today, are fictions. Sure, you don't got to do too much work to build a mundane world, but don't get it twisted: you still got to do some work.

That's the kind of movie that I like to make, where there is an invented reality and the audience is going to go someplace where hopefully they've never been before. The details, that's what the world is made of.

Do remember, though, that unless you're a playwright, the result [dialogue] isn't what you want; it's only an element of what you want. Actors embody and re-create the words of drama. In fiction, a tremendous amount of story and character may be given through the dialogue, but the story-world and its people have to be created by the storyteller. If there's nothing in it but disembodied voices, too much is missing.

Setting is my primary joy as a writer, building a world and watching people respond to it.

In the story, I think as an actor you're just trying to fit into the world.

Before I started to make films, I didn't give much thought to the way the characters were physically positioned in the story world.

Good writers are in the business of leaving signposts saying, Tour my world, see and feel it through my eyes; I am your guide.

One of the things I've found most challenging about writing a multibook series is keeping it fresh and evolving while still delivering the familiarity that keeps longtime fans devoted to the characters and story world.

One of my goals is to allow readers to see my characters and the world they inhabit as vividly as possible.

Each story presents a mystery that has to be solved in the process of writing. When I'm at work on a story, I'm completely immersed in that world and in the lives of those characters; they're utterly real to me. Then, when I've completed the story, it all just falls away. The whole compulsion to understand is over.

Each book is a separate entity for me. When I'm writing it, I enter its world and inhabit its vocabulary. I forget, as it were, that I ever wrote anything else.

My characters populate a big, vibrant world. Sometimes they rub shoulders. Sometimes they don't.

Interactive storytelling emphasizes a personal connection with the characters. It is a powerful tool that can draw you so deeply into the world of a story that you lose sight of it as a story. You think you are there - at least, if it is done right.

Television provides the opportunity for an ongoing story - the opportunity to meld the cast and the characters and a world, and to spend more time there.

Good writers are in the business of leaving signposts saying, Tour my world, see and feel it through my eyes; I am your guide.

I would say movies all have their own world or reality they're built in.

As a writer, you must know what promise your story or novel makes. Your reader will know.

'The Lobster' is very particular, and we did need to create a very specific world with specific rules so the whole premise would work.

The first job of a storyteller is to make the reader feel the story, to get the reader to live in the skin of the character.

In brief, worldbuilding is different than setting in my opinion. Setting is a room. A backdrop. It's scenery. But without good worldbuilding, you can't have realistic feeling scenery. You can't have cool, unique backdrops for your story.