The function of a book or a poem or a story is to delight, to enchant, to beguile.
Philip PullmanRead
I tried writing out a plot with the second or third novel I wrote, and it was so boring, so desperately boring.
Interpretation
This quote highlights the struggle of creating engaging narratives when constrained by rigid planning.
Philip Pullman expresses his frustration with the process of meticulously plotting a story, suggesting that such a formulaic approach can lead to dullness in writing. The author implies that creativity thrives in spontaneity and freedom rather than strict adherence to an outline, allowing ideas to flow naturally and engagingly.
In practice
In a writing workshop, to emphasize the importance of spontaneity in creative writing.
The function of a book or a poem or a story is to delight, to enchant, to beguile.
Education and health were always matters of charity. You educated children and you helped the sick because they were good things to do, not because you were going to make money out of them. If you let the money-making principle, the profit-seeking motive, anywhere near education and health, things go bad.
To get the best out of life here ...Good grief. There's plenty of it about, so indulge. Give yourself some thing to remember. Fall in love. Fall out of love. Gamble. Get drunk. See how long you can stay awake. Go for long walks at night. Discover what you're afraid of doing, and then do it.
People should decide on the books' meanings for themselves. They'll find a story that attacks such things as cruelty, oppression, intolerance, unkindness, narrow-mindedness, and celebrates love, kindness, open-mindedness, tolerance, curiosity, human intelligence.
I told him I was going to betray you, and betray Lyra, and he believed me because I was corrupt and full of wickedness; he looked so deep I felt sure he'd see the truth. But I lied too well. I was lying with every nerve and fiber and everything I'd ever done...I wanted him to find no good in me, and he didn't. There is none.
Lyra learns to her great cost that fantasy isnβt enough. She has been lying all her life, telling stories to people, making up fantasies, and suddenly she comes to a point where thatβs not enough. All she can do is tell the truth. She tells the truth about her childhood, about the experiences she had in Oxford, and that is what saves her. True experience, not fantasy - reality, not lies - is what saves us in the end.
I have a very healthy relationship to my work, and I find that if a scene is working, no matter how intense it is, you have the catharsis on screen, and you can let it go. I think it's, if at the end of the day you feel like you haven't cracked it, that's when you go home and it's more difficult to switch off.
I still feel like I have a lot to learn in the realm of sound experimentation, and I think I would like things to get noisier and weirder and more distressed and more aggressive, but I don't know if that's something that would be suitable for public consumption.
It is therefore indisputable that the limbs of architecture are derived from the limbs of man.
There is something bigger than fact: the underlying spirit, all it stands for, the mood, the vastness, the wildness.
Bored with obvious reality, I find my fascination in transforming it into a subjective point of view.
When we talk about music, we talk about our reaction to it. One person might say that music is so poetic, while another says it's all mathematics. Yet another might say it's about sensuality, and so on. That's all true. But music is not just one of these things. It's everything all at once.
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