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Daniel Abraham

Data de nascimento: 15. Novembro 1969

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Daniel James Abraham , pen names M. L. N. Hanover and James S. A. Corey, is an American novelist, comic book writer, screenwriter, and television producer. He is best known as the author of The Long Price Quartet and The Dagger and the Coin fantasy series, and with Ty Franck, as the co-author of The Expanse series of science fiction novels, written under the joint pseudonym James S. A. Corey. The series has been adapted into the television series The Expanse , with both Abraham and Franck serving as writers and producers on the show.

Under the pseudonym M. L. N. Hanover, Abraham is the author of the Black Sun's Daughter urban fantasy series. With Franck, he wrote the Star Wars novel Honor Among Thieves , again as James S. A. Corey. Abraham collaborated with George R. R. Martin and Gardner Dozois to write the science fiction novel Hunter's Run . A frequent collaborator of Martin, Abraham has adapted several of Martin's novels into comic books and graphic novels, such as A Game of Thrones: The Graphic Novel, and has contributed to Martin's Wild Cards universe.

His short stories have appeared in numerous publications and anthologies, and have been collected in Leviathan Wept and Other Stories . Leviathan Wakes, book one of The Expanse, was nominated for the 2012 Hugo Award for Best Novel and the 2012 Locus Award for Best Science Fiction Novel. His novelette "Flat Diane" was nominated for the Nebula Award. His novelette "The Cambist and Lord Iron: a Fairytale of Economics" was nominated for the Hugo Award and the World Fantasy Award. Abraham is a graduate of Clarion West Writers Workshop 1998.

Citações Daniel Abraham

„What I want to do is write something that I could read now (39 years old, married, raising a kid, 10 year IT career behind me, post 9-11, post-Bush, etc.) with the same joy I read the Belgariad when I was 16.“

—  Daniel Abraham
Context: For the moment, it's called the Dagger and the Coin, but with any luck, that'll swap out for a better name. There are some things in the proposal that need to get smoothed out so that everyone's on board, but I think it'll happen. It's a very different from the Long Price books. It looks and feels more like traditional epic fantasy -- quasi-Europe, ferinstance, and some dragons in the background, no 15-year gaps between books -- but the plot structure is packed with everything I think is cool. There are echoes I'm intentionally building in of from things as familiar as Firefly and The Count of Monte Cristo and as obscure as Tevis' Queen's Gambit and Reck-Malleczewen's Diary of a Man in Despair. And the magic system is all about faith and deception, which will be tricky and fun both. What I want to do is write something that I could read now (39 years old, married, raising a kid, 10 year IT career behind me, post 9-11, post-Bush, etc.) with the same joy I read the Belgariad when I was 16. talking about http://asoiaf.westeros.org/index.php/topic/30792-daniel-abraham/page__st__60 his epic fantasy series The Dagger and the Coin

„I think that the soul of fantasy—or second-world fantasy at least—is our problematic relationship with nostalgia.“

—  Daniel Abraham
Context: I don't find fantasy to be more or less suited to philosophical questions than any other genre, really. I think that the soul of fantasy—or second-world fantasy at least—is our problematic relationship with nostalgia. The impulse to return to a golden age seems to be pretty close to the bone, at least in western cultures, and I wouldn't be at all surprised if it's a human universal. For me, it's tied up with the experience of aging and the impulse to recapture youth. Epic fantasy, I think, takes its power from that. We create golden eras and either celebrate them or—more often—mourn their loss. Interview with Peter Orullian http://orullian.com/writing/danielabraham_interview.html

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„I think that the successful genres of a particular period are reflections of the needs and thoughts and social struggles of that time. When you see a bunch of similar projects meeting with success, you’ve found a place in the social landscape where a particular story (or moral or scenario) speaks to readers. You’ve found a place where the things that stories offer are most needed.“

—  Daniel Abraham
Context: I think that the successful genres of a particular period are reflections of the needs and thoughts and social struggles of that time. When you see a bunch of similar projects meeting with success, you’ve found a place in the social landscape where a particular story (or moral or scenario) speaks to readers. You’ve found a place where the things that stories offer are most needed. And since the thing that stories most often offer is comfort, you’ve found someplace rich with anxiety and uncertainty. (That’s what I meant when I said to Melinda Snodgrass that genre is where fears pool.) On his blog, talking about genre http://www.danielabraham.com/?p=160

„I think there's a real tension between sophistication and accessibility.“

—  Daniel Abraham
Context: Writers are a basically insecure bunch. We are convinced that everything we do sucks, all the time. It's something you have to fight. The best way to make sure that your writing will never be particularly good is to use it for something besides telling the story. And I think there's a real tension between sophistication and accessibility. interview with Locus Magazine, June 2008

„I want my villains to be understood and forgiven.“

—  Daniel Abraham
Context: I was listening to Tim Powers talking and he said he didn't want his villains just defeated, he wanted them humiliated and destroyed. And I thought: 'I don't. I want my villains to be understood and forgiven. interview with Jack Womack in Orbit Books Podcast http://www.orbitbooks.net/2011/04/27/orbit-podcast-episode-3-with-daniel-abraham/

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