It seems to me that I have just written something terribly stupid, but I have no time to correct it, as I said; besides, I give myself my word purposely not to correct a single line in this manuscript, even if I notice that I am contradicting myself every five lines.
— Ippolit Terentyev, The Idiot
"Writing a novel is like driving a car at night. You can see only as far as your headlights, but you can make the whole trip that way."
— E.L. Doctorow
"We never worried about how we were gonna get him out [of various dilemmas]. If we did, we'd never get him in!"
— Chester Gould, to LIFE Magazine, on writing Dick Tracy
The thing that constantly astonishes me about doing Digger is how things I thought of two seconds before drawing the comic develop such a life of their own. Five hundred pages later, Ed is far and away the most beloved character in Digger, his culture’s been fleshed out in bizarre and intricate ways, but at the time I drew him, he was just some drooling hyena monster that I decided to throw at Digger because I couldn’t get the muzzle right when I tried to draw a bear.
"There’s a popular theory within media criticism that says that, when plotting an extended storyline in a serialized medium, you should know where you’re going when you start. This, after all, helps with that whole Aristotelean unity thing. If you know the ending, you can set it up at the beginning. Many people - Alan Moore still visibly holds a grudge over this - say that’s what was wrong with LOST all along: that they were making it up as they go along... Moffat’s solution to this problem has always been to leave hooks that clearly beg to be picked up on, figuring that he’ll come up with something for them later. He may well have some idea what that will be, but the details will come when he gets there. Sometimes, for a variety of reasons, things don’t get picked up. In the Doctor Who Confidential on Victory of the Daleks, there’s a story about him telling Gatiss to call the yellow Dalek 'Dalek Eternal,' and Gatiss asking what that meant. Moffat’s answer was something to the effect of 'I have no idea, but it’ll be brilliant when I come up with it.' And of course, he probably never will, given that the New Paradigm Daleks have been quietly retired as the aesthetic disasters they were."
"By all accounts, the production on the infamous Trial of a Time Lord was a disaster for reasons natural and otherwise. Veteran writer Robert Holmes was to provide the opening and closing scripts, but passed away before his work on the finalé could be finished. Script editor Eric Saward and producer John Nathan-Turner clashed over the climax of the trial, prompting Saward to resign and Nathan-Turner to temporarily become script editor himself. Colin Baker couldn’t make sense of Mindwarp. The last episode of the season was written by two writers wrapping up from Holmes’ first part, but unable to examine his notes on how he planned to conclude it.
Believe me when I state that every last ounce of this behind-the-scenes friction was visible on-screen by the end of the year."
—Darren Mooney on Doctor Who Series 22