Dave Morris

Author

Nationality: British Born: March 19, 1957

Alan Alexander Milne, better known as A. A. Milne, was an author and poet from England, who was particularly famous for being the creator of the character Winnie the Pooh. Milne was educated at the University of Cambridge and initially worked as a playwright; however it was as the writer of Winnie the Pooh in 1926 that he became famous. It was followed up by The House at Pooh Corner two year later. Other than that, he was a prolific writer who wrote children’s short story and poetry collections, newspaper columns, plays and had also been a columnist for the popular magazine Punch.
The writer must be a transcendent, not immanent, deity.
My advice after thirty years in the business is sign with an agency of reasonable size.
'War and Peace' goes down a lot smoother than a Dan Brown novel, let me tell you.
In good writing, the contemplative and the exciting happen at the same time.
Literary fiction - if we must use the term - is not the plotless, meandering indulgence that its detractors would have you believe.
Motion comics are just cheap animation. Very cheap animation. And I like animation almost as much as I like comics, but I'm not rushing to pay out for a cheap hybrid of the two.
A very great deal is written about the future of book publishing - much more than on its present or past - and the only takeaway from all these oracles seems to be that a great empire will be destroyed.
Comics have always been storyboards.
A new medium always has a period when it is struggling inside the confining box of an earlier medium. Creators have to unlearn what they knew before they can see the fresh, uncharted vistas stretching before them.
You don't get 'The Unfinished Swan' or 'Shadow of the Colossus' or even Telltale's 'Walking Dead' until you've sat through the long, linear infodumps of something like 'Metal Gear Solid'.
Six years old, and I already knew that my natural home was the world inside the head.
Interactive storytelling emphasizes a personal connection with the characters. It is a powerful tool that can draw you so deeply into the world of a story that you lose sight of it as a story. You think you are there - at least, if it is done right.