I just want people to get lost in the story and at the end kind of sag and say, 'That was fun.' It's hardly my desire for them to sit and think, 'What a great literary image.'
Sentiment: POSITIVE
I think there's something really thrilling to having to get people laughing about something, and then, when you have them in that comfort space, you can drop the weight into the texture of the story.
Most writers spend their lives standing a little apart from the crowd, watching and listening and hoping to catch that tiny hint of despair, that sliver of malice, that makes them think, 'Aha, here is the story.'
With years of experience doing whatever it takes to get to the bottom of each story, I am looking forward to covering the stories in the human dimension and impart the passion and visceral reactions the audience seeks.
I wanted to give readers the feeling of knowing the characters, a mental image.
I'm a child of the literary bent. I don't want to see 140 characters. I want to see a story.
In writing literary fiction, you are trying to help yourself. And readers are going to literary fiction not just to be entertained, but because they feel something else will happen; that the experience will take them beyond themselves and show them something they haven't seen before.
I wanted to write a story that demanded the viewer's attention.
It's fun to present stories that have a character that, really, everybody wants to be.
Fortunately, our audiences are used to a kind of boredom in the theatre, and if the writer is skillful, he will flatter them into thinking: 'Why, that's us up there, and aren't we - for all our little foibles - pretty nice guys and gals?'
I wanted to portray very, very dark subject matter and a deceptively complex story in the brightest colours and simplest lines possible to leave the readers reeling.