If you care about [the characters] as if they were real, that always helps.
Regular people don't even realize how much artists mean to them. Artists represent a lot to the average person. People listen to music all day on their iPods, so as artists, we become a real fixture in people's lives. As an artist, you can't take it personal. It's like your big brother teasing you.
I find that the more I depend on real life, the less interesting the story is. It's much more common for me to take something that almost-happened, or I wish had happened, and then follow that possibility.
While I find inspiration in real life, the actual stories are, thankfully, works of fiction - which, given the considerable turmoil in my character's lives, is probably a good thing!
I tend to avoid melodrama. I try to create very realistic settings and very realistic experiences and realistic responses to these experiences. Melodrama is the use of really big events that may or may not happen in real life - certainly they do, but they're not events that are common to most people. Most of the things that happen in my novels are things that could happen to people in real life.
If you ever had a pet, with me it was a dog, with that sort of unconditional love that only dogs can give, people can't do that; that sort of thing where it's very powerful, it's kind of your first love and your first real relationship, and usually your first experience with death.
I have tremendous respect for fighters and I always tell people that boxing in movies is one thing but when you get into the ring for real, even the worst heavyweight in the world is going to murder you. You've just got to appreciate the pain and the suffering and the glory and skill that goes into what they do. That's why I love the sport so much.
The part of the brain that is watching the television and is on the computer at the same time, preparing to jump onto the treadmill for 15 minutes, might be able to lead into sex, but it would be hard put to lead us to romance, or to real authentic human connection.
Real intimacy; real love has to do with a joining of the mind, a joining of the spirit, a joining of the heart.
The female characters in my books tend to be independent, frisky, spunky, witty, emotionally strong, erotically daring, spiritually oriented and intellectually generous; in short, the kind of women I admire in real life.
All things in my novels are real for me. Some western critics said that Garcia Marquez's novels are magic realism. However, I believe that Marquez must have experienced everything in his novels.
I don't write science fiction. I've only done one science fiction book and that's Fahrenheit 451, based on reality. Science fiction is a depiction of the real. Fantasy is a depiction of the unreal.
The only thing that's real in any universe [is] that brilliant fire of Love that burns to the exclusion of everything else. As we recognize the presence of Love, we break through the wall of grief that would try to convince us that the dear soul with whom we have learned and loved so much no longer exists, or that she or he cannot speak with us. There is no wall that Love cannot vaporize. We may believe in death, Love doesn't.
When we're born on this planet, we're taught to believe that what we see is real. But as we grow in understanding, we recognize first that we've been hypnotized by that reaching, and second that it's within our power to de-hypnotize ourselves. And as we do that, the illusion appears to change, to come in harmony with what we most value. If we most value love, we will begin to see more and more love and joy and adventure-creative expressions of life shimmering everywhere around us.
A reason I became a writer was to escape the hopelessness and despair of the real world and enter the world of hope I could create with my imagination.
God is the Source of real love, joy, peace, wisdom and everything else we all need to be the people He has created us to be.
Economized love is never real love.
It is only the fundamental conceptions of psychology which are of real value to a teacher.
There is a part of yourself that is not subject to change, it is the silent witness behind the scenes. That is essentially your spirit, the spirit being an abstract but real force. It is as real as gravity. It is as real as time. It is incomprehensible. It is mysterious but it is powerful and it is eternal.
So one could say that the only real problem is dysfunctional thinking, the rest are challenges, not problems.
Without any kind of real ego on my part, I just thought, I'm going to approach the people I admire and see if they want to do something together.
I think it's a real gift to be faced with man's potential for extreme cruelty but also man's resilience and the fact that love really does conquer everything. It's the only answer to these kinds of atrocities and it's not a passive thing.
I've got two little girls, I'm not scared about sex. I'll teach them, it's not going to kill them. But what could kill them is violence. Guns, drinking and driving, these are the real dangers in our society.
For me, there's always a huge attraction in playing real people. But with it comes an incredible sense of responsibility because you're playing a real person in a real event.
My real purpose in telling middle-school students stories was to practice telling stories. And I practiced on the greatest model of storytelling we've got, which is "The Iliad" and "The Odyssey." I told those stories many, many times. And the way I would justify it to the head teacher if he came in or to any parents who complained was, look, I'm telling these great stories because they're part of our cultural heritage. I did believe that.
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