I think that it is very good for people to talk about their paranormal experiences and share stories about things that they cannot explain.
The lead story on MSNBC was the news that there was nothing new to report in the Gary Condit story. So remember when there is nothing new to report, MSNBC will be the station not to report it first.
What did a happy ending even mean in real life, anyway? In stories you simply said, 'They lived happily ever after,' and that was it. But in real life people had to keep on living, day after day, year after year.
Cable TV has become where the best actors, writers and directors have gone to work because they are allowed to do character-driven stories.
I can imagine there is going to come a time when someone will do 13 hours of a story without breaks.
Some photographs are like a Chekhov short story or a Maupassant story. They're quick things and there's a whole world in them. But one is unconscious of it while shooting.
Corn is the hero of its own story, and though we humans played a crucial supporting role in its rise to world domination, it would be wrong to suggest we have been calling the shots, or acting always in our own best interests. Indeed, there is every reason to believe that corn has succeeded in domesticating us.
I've always assumed that every time a child is born, the Divine reenters the world. Okay? That's the meaning of the Christmas story. And every time that child's purity is corrupted by society, that's the meaning of the Crucifixion story. Your man Jesus stands for that child, that pure spirit, and as its surrogate, he's being born and put to death again and again, over and over, every time we inhale and exhale, not just at the vernal equinox and on the twenty-fifth of December.
The fact is that there is a profound spiritual hunger in the western world which, for a variety of reasons, its church is no longer able to assuage. So a book which suggests that there is a spiritual significance to the Christian story but that this has been suppressed by the church undoubtedly appeals to those who are anxious to square this circle.
It goes to show you how we in the press so often miss the big stories that are right under our noses. There is a famous journalistic legend about the time a young reporter covered the Johnstown flood of 1889. The kid wrote: God sat on a hillside overlooking Johnstown today and looked at the destruction He had wrought. His editor cabled back: Forget flood. Interview God.
In a 22-page comic, figuring an average of four to five panels a page and a couple of full-page shots, a writer has maybe a hundred panels at most to tell a story, so every panel he wastes conveying a.) something I already know, b.) something that's a cute gag but does nothing to reveal plot or character, or c.) something I don't need to know is a demonstration of lousy craft.
Twenty-two pages is not a lot of space. Believe me. Having written a bazillion comics, I still find myself more often than nine pages into a script and realizing to my horror that I'm only about a quarter of the way through the story I wanted to tell, and the next thing you know, I'm making fresh coffee and tearing up the floorboards to rewrite.
When I went to Stan Lee - every time I was with Stan, I learned something every day. When I would do a pencil job, if I didn't have much faith in it I would hand it in and invariably Stan would make it look like it was a well-written and well-planned-out story. It made me tell people, 'If you want to become an artist, go to work at Marvel. Stan will turn you into a storyteller.'
When I was there at Marvel, everybody thought if you could draw well and you could do sensational panels, that you were going to be a success. The truth is that no matter how good or bad you are as a draftsman, if you can't tell a story, you don't last in comics. ...About halfway through my stay at Marvel, I realized I was being paid to tell a story, not do a drawing. That's why my stuff is always rather simple and uncomplicated compared to a lot of guys.
One of the greatest sins in any story is false suspense. The kind of 'suspense' that disintegrates the moment you give your reader one second to think about it. And it's an easy trap to fall into, so watch carefully for it. If your story hinges on the question, 'Will Superman be pushed so far in his battle against Lex Luthor that he'll have to kill him?', or if your big cliffhanger moment is, 'Wow, is Spider-Man really dead this time?', then I understand Food Lion is hiring.
I see this with experienced writers, too: They worry so much about the plot that they lose sight of the characters. They lose sight of why they are telling the story. They don't let the characters actually speak. Characters will start to dictate the story in sometimes surprising, emotional, and funny ways. If the writers are not open to those surprises, they're going to strangle the life, spark, or spirit out of their work.
It's an interesting job, it's a fascinating job, I can't imagine anything that would have given me more satisfaction, and not everything I did was awful, but it was just writing another story in a world that's full of stories.
Well it's been about 100 years and every attempt at a comics writers' union has failed miserably. There is, sadly, a long history of short-term thinking and self-destructive behavior among my fellow comic book creators. No matter how many horror stories they have heard they won't even go so far as to hire themselves a lawyer when they need it. It breaks my heart. I am a very proud union member of the Writers Guild. And I can't imagine my fellow comic creators being able to pull something like this together.
All the writing elements are the same. You need to tell a good story... You've got good characters... People think there's some dramatic difference between writing 'Little Bear' and the 'Hunger Games,' and as a writer, for me, there isn't.
I get all the truth I need in the newspaper every morning, and every chance I get I go fishing, or swap stories with fishermen to get the taste of it out of my mouth.
All the charm of the angler's life would be lost but for these hours of thought and memory. All along the brook, all day on lake or river, while he takes his sport, he thinks. All the long evenings in camp, or cottage, or inn, he tells stories of his own life, hears stories of his friend's lives, and if alone calls up the magic of memory.
If you aren't a fisher you'll see many things, but the river, except where it is ridden by waterfowl or waded by moose, will rarely enter your thoughts, much less stimulate your spirit. It's different if you fish. The surface of the water tells a story.
I saw "Forrest Gump" several times. I personally thought it was Tom Hanks' greatest role and I think it was one of the most eloquent love stories of our time.
In writing Snowboarding to Nirvana I have intentionally written an inspirational spiritual adventure story, which will hopefully provide people with metaphysical techniques, spiritual knowledge, hope and a brighter view of life.
There are some great stories in The Second Ring of Power about how Don Juan and Don Genaro found their apprentices and what they went through to fool their students into seeking light.
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