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Religion begins in story. Yes, it does, because religion is an attempt to make sense of what is incomprehensible to us, what is inexplicable, what is awe-inspiring, what is frightening, what moves us to great wonder, and so on. That is the religious impulse, and it is part of our psychological makeup -- of everyone's psychological makeup.

I have claimed that Escape is one of the main functions of fairy-stories, and since I do not disapprove of them, it is plain that I do not accept the tone of scorn or pity with which 'Escape' is now so often used. Why should a man be scorned if, finding himself in prison, he tries to get out and go home? Or if he cannot do so, he thinks and talks about other topics than jailers and prison-walls?

As for what it's against - the story is against those who pervert and misuse religion, or any other kind of doctrine with a holy book and a priesthood and an apparatus of power that wields unchallengeable authority, in order to dominate and suppress human freedoms.

Hold it. You know what I'd like to see? I'd like to see the three bears eat the three little pigs, and then the bears join up with the big bad wolf and eat Goldilocks and Little Red Riding Hood! Tell me a story like that, OK?

But in a story, which is a kind of dreaming, the dead sometimes smile and sit up and return to the world.

Listen. To live is to be marked. To live is to change, to acquire the words of a story, and that is the only celebration we mortals really know. In perfect stillness, frankly, I've only found sorrow.

I have tried to remove weight, sometimes from people, sometimes from heavenly bodies, sometimes from cities; above all I have tried to remove weight from the structure of stories and from language.

I am a story teller. If I wanted to send a message I would have written a sermon.

I wrote the story myself. It's all about a girl who lost her reputation but never missed it.

We're all made of stories. When they finally put us underground, the stories are what will go on. Not forever, perhaps, but for a time. It's a kind of immortality, I suppose, bounded by limits, it's true, but then so's everything.

Seeing a woman's child is like seeing a woman naked, in the way it changes how her face looks to you, how her face becomes less the whole story.

As my exciting story began I was being punched in the stomach.

Fantasy/science-fiction stories have been around almost as long as each genre, but every hybrid now lives in the shadow of 'Star Wars.'

The problem is once you've written the opening paragraph and worked out how the rest of the story will go in your head, there's nothing in it for you. I write in longhand using disposable fountain pens on the right-hand side of the notebook for the first draft, then I rewrite some of the sentences and paragraphs on the left-hand side.

I think you can get a sort of intensity and an edginess offering nine stories in a book. Competing versions of things.

Three of my novels and a good number of my short stories are told from the point of view of men. I was brought up in a house of women.

In 'Surprised by Grace: God's Relentless Pursuit of Rebels,' I retell the story of Jonah and show how Jonah was just as much in need of God's grace as the sailors and the Ninevites.

There is no better story in the Old Testament, or perhaps the whole Bible, for depicting the difference between the ladder-defined life and the cross-defined life than that of the Tower of Babel.

Writing is incidental to my primary objective, which is spinning a good yarn. I view myself as a storyteller more than a writer. The story - and hence the extensive research that goes into each one of my books - is much more important than the words that I use to narrate it.

I would imagine that anyone picking up a book written by me would expect a fast-paced story that requires minimal effort to turn the pages. The reader would also be looking for some out-of-the-ordinary revelations along the way. At the end of the day, I'm a writer who simply loves revealing stuff that is out-of-the-ordinary.

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