Benjamin Percy Quotes

I think my leap into TV and movies and comics is in a way natural because I'm a visual storyteller. If you look at any one of my short stories or novels, they sort of unscroll cinematically. Every scene is concrete in my mind. I can walk around the room and pick things up. I can describe at length every feature on the character, though I might only supply a glimpse of this on the page. So if I'm writing color into that I'm also writing texture, I'm pushing the image more than anything else.

The High Divide, a novel about a family in peril, is haunting and tense but leavened by considerable warmth and humanity. Lin Enger writes with durable grace about a man’s quest for redemption and the human capacity for forgiveness.

I want to build as many worlds as possible - each a version of ours with a crack running through it - and not be anchored to any of them.

I wanted it to be as multi-windowed as possible, so that the reader felt like they were seeing all the different ways in to a big haunted house.

I grew up with guns. For my 16th birthday, in fact, I received a .357 instead of a car. But there was nothing playful about them; they were tools.

People talk about me as masculine. Because of the way I walk and talk and crank out pull-ups and smell like bacon.

As in the case of many of the stories that I've written I'm not trying to editorialize. I don't want there to be a message at the end of anything I write. Otherwise you wouldn't trust the characters. They'd feel less organic and more like puppets that are sharing the author's opinion.

You can't teach talent, but you can teach people how to read strenuously and mimic the moves of rock-star writers so that they eventually accumulate a toolbox of skills.

I grew up on genre - on Westerns, spy thrillers, sci-fi, fantasy novels, horror novels. Especially horror novels.

My voice dropped when I was 14. And when I was 14, I might have weighed 75 pounds. So you can imagine how strange that must have been: like James Earl Jones speaking through a sock puppet.

I have a scenario but almost always it's entwined with at least one person to begin with. Then I sort of expand from there and I'm thinking about books novels. I've got these scrolls of paper that I hang up in my office and this is my idea room, my nightmare factory, and I have a big title at the top of the scroll and on the left hand side I have these character sketches on the characters, and then once I figure out who they are I can figure out what they want and once I figure out what they want I'm able to put obstacles in the way of that desire, and that's where plot springs from.

I found collaboration to be a terrible thing in Hollywood because there are so many people involved you have to make a thousand little compromises to every project and every single scene is a committee decision. It's maddening. But with comics you've got an artist and you've got a writer.

Writing is an act of empathy. You are occupying and understanding a point of view that might be alien to your own--and work is often the keyhole through which you peer.

I think everyone can relate to the werewolf myth - because we've all, as a result of alcohol, drugs, exhaustion, rage, gone off the leash and come to regret it later. I appeal to this psychologically - the unleashed id - but with a biological cause; I'm hopefully making possible supernatural circumstances.