Gina Torres Quotes

I do hope to bring Jane Whitefield back before too long.

As long as a character doesn't die, the character can always come back.

I never like to think of any character as being over. I'm always thinking of different ways of bringing them back.

I love a good cliffhanger. I love when big events happen in shows. I love shows that aren't afraid to take risks and to really do what's best for the story line and realistic for the story line.

It's the classic story form. All staying equal, or proving equal, or being equal, this will all continue, and the next time around, we'll move on to see what happened to Harry after he dove in the river, or who his friend John really was, and so on.

I think people enjoy a series. When you like a story, many readers want more of the same, which is dandy, if the author and the characters have more to say.

If he is a ghost, then it's very disappointing for me, because he is banished in the story, and that could mean that he won't be coming back, and that would be terrible, wouldn't it?

It's often the case that the most strained moments in books are the very beginning and the very end - the getting in and the getting out. The ending, especially: it's awkward, as if the writer doesn't know when the book is over and nervously says it all again.

On 'Flash,' you've never seen the last of anybody, no matter what happens to them.

Marc Cherry is so good at writing himself into a corner, then writing himself out of that corner. It's really fun to watch that.

A lot of people ask for sequels, but what they really want is just to know the characters are happy and safe.

More than working toward the book's climax, I work toward the denouement. As a reader and a writer, that's where I find the real satisfaction.

I believe in plot, in development of character, in the effect of the passage of time, in a good story - better than something you might find in the newspaper. And I believe a novel should be as complicated and involved as you're capable of making it.

I'm a huge 'Breaking Bad' fan; I would be really annoyed if anyone told me anything about what was going to happen in the last eight episodes.

You have a movie and it proves itself and then certain things happen.

The most-asked question when someone describes a novel, movie or short story to a friend probably is, 'How does it end?' Endings carry tremendous weight with readers; if they don't like the ending, chances are they'll say they didn't like the work. Failed endings are also the most common problems editors have with submitted works.

I enjoy a good cliffhanger. As a reader, I relish that nervous feeling you get when you're engrossed in a story, but in the back of your mind you're aware that there aren't that many pages left. How will it end? Everything can't be wrapped up! This can't end! Then it does, and your heart seems to stop.

We have a rule: if you're killing off a series regular, you have to tell them first. If you're killing off a person temporarily, you have to warn them before the script comes out.

When you're telling taut, tight storytelling that has any kind of built-in plot twist elements, you tend to want to stack everything up on top of itself as opposed to letting things breathe and be languid in terms of the passage of time.

I was doing 'Homeland' and read the first two episodes, and all I wanted was episode three to know what would happen next.

Drama comes from characters changing. If characters stay the same and nothing changes, there's really nothing to look at.

That wasn't an ending. It was just a stopping point.

For film and theater, you know how the story starts; you know how the story ends. With TV, you don't. It's literally like living real life in character.

In the English books, the American kids' books, typically, there is a problem, the characters grapple with that problem, and the problem is resolved.

Conflict is the place where character and plot intersect.