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“I believe writers need to be chameleons, or like Meryl Streep, who can play all sorts of characters. A good writer should be able to cross gender lines and people of all social classes. So for me, writing from a male point of view would be a great challenge, that I would look forward to taking on.”

“I have learned a great deal in my life, and DeMolay helped me to learn that character and integrity should be cornerstones in your life. As a Senior DeMolay, as a father, the best advice I could ever give would be to take the high road in life, and you will be able to build trusting relationships.”

“Cut like crazy. Less is more. I've often read manuscripts - including my own - where I've got to the beginning of, say, chapter two and have thought: “This is where the novel should actually start.” A huge amount of information about character and backstory can be conveyed through small detail. The emotional attachment you feel to a scene or a chapter will fade as you move on to other stories. Be business-like about it.”

“If it be admitted that a man, possessing absolute power, may misuse that power by wronging his adversaries, why should a majority not be liable to the same reproach? Men are not apt to change their character by agglomeration; nor does their patience in the presence of obstacles increase with the consciousness of their strength. And for these reasons I can never willingly invest any number of my fellow creatures with that unlimited authority which I should refuse to any one of them.”

“Anyone who loved Tuesdays with Morrie should delight in reading The Five People You Meet in Heaven. Mitch Albom has populated his larger-than-life tale with memorable characters and filled it with the abundant warmth and wisdom that we've come to expect from this gifted storyteller.”

“How fleeting are the wishes and efforts of man! how short his time! and consequently how poor will his products be, compared with those accumulated by nature during whole geological periods. Can we wonder, then, that nature's productions should be far 'truer' in character than man's productions; that they should be infinitely better adapted to the most complex conditions of life, and should plainly bear the stamp of far higher workmanship?”

“The beauty of the world of Unbreakable is that you're playing it for reality. It should never feel like a comic book movie. It feels like a straight-up drama. It's real. You're confronting the possibility that comic book characters were based on people that were real.”

“I should love to do a novel, about one abnormal character seeing present-day life, very ordinary life, yet arresting through it, abnormality, until at the end the reader sees, and with little reluctance, that he is not abnormal at all, and that the main character might as well be himself.”

“The story man must see clearly in his own mind how every piece of business will be put over. He should feel every expression, every reaction. He get far enough from his story to take a second look at it... to see whether there is any dead phase... to see whether the personalities are going to be interesting and appealing to the audience. He should also try to see that the things that his characters are doing are of an interesting nature.”

“Even one word, or certainly one sentence, should be able to describe the basic characteristic that the scene has, or the character has, or the story has. And then you begin to detail that one spine, and you have offshoots from that spine, and it becomes more and more complex, but all of it stems from that one-word, one-line theme, which can give the character, the scene, or the play its uniqueness.”

“The only real reason for self-referencing is the fun factor. It's fun for the writer, getting little peeks at what old characters might be up to. And it's fun for readers to spot a familiar face, or pick up on a made-up book title or something from an earlier story. I don't know that it does -- or even should -- contribute to the story in hand being any better than it would have been without it.”