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.
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 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.
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 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.
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.
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.
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.
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 grew up on genre - on Westerns, spy thrillers, sci-fi, fantasy novels, horror novels. Especially horror novels.
People talk about me as masculine. Because of the way I walk and talk and crank out pull-ups and smell like bacon.
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.
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.
