Some stories have to be written because no one would believe the absurdity of it all.

It’s easier for me to make sense of it that way than it is for me to face the other way—reality. And yet, those evil spirits that were unleashed—be they fake entities from a stupid carnival ride, or cruel malevolencies from dark spiritual chasms of our universe—have stayed with me all these years

Listen, we’ll come visit you. Okay? I’ll dress up as William Shakespeare, Lucent as Emily Dickinson, and beautiful ‘Ray’ as someone dashing and manly like Jules Verne or Ernest Hemingway...and we’ll write on your white-room walls. We’ll write you out of your supposed insanity. I love you, Micky Affias.-James (from "Descendants of the Eminent")

I leave the kitchen table to bathe, and to dress for church. If only my closet held on its shelves an array of faces I could wear rather than dresses, I would know which face to put on today. As for the dresses, I haven't a clue.

In Hollywood, no one knows anything.

Hugh Laurie (playing Mr. Palmer) felt the line 'Don't palm all your abuses [of language upon me]' was possibly too rude. 'It's in the book,' I said. He didn't hit me.

Every writer dreams about the day they can step into their fiction and wander its hallways.

But the thing I remember most about the screening in October twenty years ago was the moment Julian grasped my hand that had gone numb on the armrest separating our seats. He did this because in the book Julian Wells lived but in the movie's new scenario he had to die. He had to be punished for all of his sins. That's what the movie demanded. (Later, as a screenwriter, I learned it's what all movies demanded.) When this scene occurred, in the last ten minutes, Julian looked at me in the darkness, stunned. "I died," he whispered. "They killed me off." I waited a bit before sighing, "But you're still here." Julian turned back to the screen and soon the movie ended, the credits rolling over the palm trees as I (improbably) take Blair back to my college while Roy Orbison wails a song about how life fades away.

With the right tools, you can write anything ...

Makebelieve is a writer's best friend.

Screenplays are structure, and that’s all they are. The quality of writing—which is crucial in almost every other form of literature—is not what makes a screenplay work. Structure isn’t anything else but telling the story, starting as late as possible, starting each scene as late as possible. You don’t want to begin with “Once upon a time,” because the audience gets antsy.