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“I do not begin my novel at the beginning, I do not reach chapter three before I reach chapter four, I do not go dutifully from one page to the next, in consecutive order; no, I pick out a bit here and a bit there, till I have filled all the gaps on paper. This is why I like writing my stories and novels on index cards, numbering them later when the whole set is complete. Every card is rewritten many times.”

“When I started writing short stories, I thought I was writing a novel. I had like 60 or 70 pages. And what I realized was that I don't write inner monologue. I don't want to talk about what somebody is thinking or feeling. I wanted to try to show it in an interesting way. And so what I realized was that I was really writing a screenplay.”

“A lot of times it's the child that sees something and not the grownup. I love that because, when readers get older, they start looking for the most important ideas in the story. They don't look at things in the same way anymore. Children haven't really learned to do that yet. They take all their great, intellectual skills, look at the full page, and appreciate all of the different things.”

“Once we truly grasp the message of the New Testament, it is impossible to read the Old Testament again without seeing Christ on every page, in every story, foreshadowed or anticipated in every event and narrative. The Bible must be read as a whole, beginning with Genesis and ending with Revelation, letting promise and fulfillment guide or expectations for what we will find there.”

“I might spend 100 pages trying to get to know the world I'm writing about: its contours, who are my main characters, what are their relationships to each other, and just trying to get a sense of what and who this book is about. Usually around that point of 100 pages, I start to feel like I'm lost, I have too much material, it's time to start making some choices. It's typically at that point that I sit down and try to make a formal outline and winnow out what's not working and what I'm most interested in, where the story seems to be going.”

“With my two brothers, Jean-Marie and Joel, I wrote a two-page story and wanted to make some kind of movie. We met a French production company, called Why Not?, and the first name we put on the list was Ken Loach. It was a dream for all of us. So, we tried and we met Ken and Paul Laverty, his writer, and they read the two pages and were inspired by that to do something. Paul had the freedom to do his own story - and he wrote his own story, which is better than the one we'd written.”

“But I'm not a small-literary-novel kind of guy, and once I'd developed the world in the first couple of hundred pages, I felt that there was potential here to go on and write an engaging story set in that world. So that's what I did. This probably ruins things both for the people who want small literary novels and for those who want action-packed epics, but anyway, it's what I wrote.”

“I really loved the story. I originally read for Walt Longmire. He is obviously a very dynamic, strong, manly man that almost any dude would want to play. Once I got in the room and met with everybody, the feedback came back that they loved me, but that I didn't have the age. And then, they brought up the idea of Branch, who wasn't that interesting on the page in the pilot, but once they explained the vision, I really bought into it.”

“In any case, you read with exasperation or amusement the multiple errors in a story-and then turn the page to national or international affairs, and read with renewed interest as if the rest of the newspaper was somehow more accurate about far-off Palestine than it was about the story you just read. You turn the page, and forget what you know.”

“For those of us at Marvel Television, it always begins with the story. It's all about the script. It's making sure it's there, on the page. So, we needed to go to a group of individuals who have not only created some of the most memorable animated characters, like Ben 10 and Generator Rex, but also had done two seasons of our very successful Marvel's Ultimate Spider-Man series, and that's the Man of Action guys. But, it wasn't just that.”

“My first jobs were at Pixar and John Lasseter just doing animation would always allow actors to do that, and then animate to that. It was an early lesson for me that, if you're lucky enough, as I've been in my career thus far, to get really incredible iconic people to do your stuff, you want them to tell your story and you want them to be on page in the important moments, and they usually are.”

“I hope I never have to stop acting. I love it. But, I think the coolest thing about acting is working with these amazing people all the time, and writing represented a new way to meet those people and to tell stories, at the same time, which I've always wanted to do, and to tell jokes. I love comedy, so writing was a way of getting these jokes that I had down on the page.”

“We know story collections end when they end, as well - the pages serving as a countdown - but nevertheless the standard story anthology hews closer to what makes being human so hard: it reminds you with each story how quickly everything we are, everything we call our lives can change, can be upended, can disappear. Never to return.”

“A lot of people think that they are really cool because they don't outline. In my writing group, they would say, "I will never outline. I let the characters take me." C'mon, man - I outline the story, but it's only like one page. It's a list of possible reversals in the story, like things where everything will just change because of this certain reveal or this certain action. Then I start really digging into the character because, to me, I don't care what the story is.”

“I allude to Back to the Future in the 1985 story to let folks know it was an inspiration and because it literally was the most time-travelly bit of pop culture we had in the mid 80's. I can talk about their tools for considering change. First, the book is metafictive in a traditional sense where I'm showing and telling the reader that the act of writing and reading is a reflexive way to push boundaries of real and literal time travel. Writers and readers are time travellers. The question is what we do with that time we traveled when we leave a book, leave a page.”

“When I started graduate school we did this publishing class where we learned about submitting and read interviews with editors from different magazines. A lot of them said they got so many submissions that unless the first page stuck out or the first paragraph or even the first sentence they'll probably send it back. So part of my idea was that if I have a really good first sentence maybe they'll read on a bit further. At least half, maybe more of the stories in Knockemstiff started with the first sentence; I got it down then went from there.”

“The benefit of writing a collection - as opposed to a novel - is that I'm able to have some version of the war in each story without having to comment on its all-encompassing nature. Turn the page and here are new characters and new situations, but the war remains... Isn't that how life has been for us for over a decade?”