Julie Plec Quotes

I love seeing a story evolve over several books and watching characters develop.

I become my characters, and then try to allow events in the story to take their own course. I try not to play God, but to let them work out their own destiny.

I love that there's a beginning, middle and end to a film and you can craft what the whole journey is going to look like.

There's an outline for each of the books that I adhere to pretty closely, but I'm not averse to taking it in a new direction, as long as I can get it back to where I need it to go.

I like talking about comic book process, and one of the things is that I have plans going ahead for years, and the plans constantly get thrown away and shifted. There's a difference between planning and what actually happens in life, and comics have a life of their own.

Although when I start a novel I know how it will begin and end, I like to let the people within the story take me on a journey between those points without having a fixed plan.

Sometimes the fans want it both ways, of course. They want to feel like they're influencing the show, and at the same time, they want to think that showrunners have the story all mapped out in our brains. But it can't be both. In truth, we were usually far ahead of the fan feedback.

We think we've got great stories and characters that will lend themselves to great standalone experiences, and that's the way we're focusing on it.

Novels demand a certain complexity of narrative and scope, so it's necessary for the characters to change.

Ideally, it's great to gain inspiration from the script, but when filming starts, characters and their journeys can change.

It was really fun to start writing movies because you could actually take characters whose voice you enjoy writing in and have actual things happen to them for more than five minutes. It was really fun to thread it together.

Creating authentic emotional experiences, whether it's 'Star Wars' or 'Spotlight,' are driven by characters and stories that are engaging.

There are times that you have a plot in your head, but then you find that the characters don't want to do that. When you're looking at the story from the outside, you can create whatever twists and turns you want. But when you're writing, you're inside the characters' heads, and you see that they may be motivated to do something different.

Usually, when I write a novel, it takes me about 100 pages to figure out the voice of the narrator.

My only conclusion about structure is that nothing works if you don't have interesting characters and a good story to tell.

I don't necessarily believe that stories need closure. I just believe they need a beginning, middle, and end, but the end doesn't have to prevent us from continuing to grapple with the story at hand. It ideally should demand that we remain engaged with the story.

Well, I'm always drawn to the drama first. A story is really only interesting to me, if you can remove all of the genre moments and remove the supernatural element, and it still works. Then, I'm interested.

I tend to start books with a very broad outline, but I always leave room for happy accidents. With 'The Passenger,' there were perhaps too many of those.

When I started thinking about 'Mr. Robot,' I thought about it as a movie, and I thought about the complete arc, and that is the one story I'm going to tell.

Whether it's Brad Pitt up there, if there's a good moment up there, and you get pulled into the emotion, you're not thinking, 'Oh, that's Brad Pitt. He's an actor, and he's famous.' That's kind of the nature of storytelling, right? You sit around the fire and tell a story, and you can get sucked into that story.

I care about narrative structure; I care about how stories unfold.

Irrespective of the language and industry, what I seek from a project is good story and role.

I'm good at description and imparting flow to a story, but I don't necessarily understand the value of long scenes.

I came into this business to create characters that moved people and told stories.

I rarely do any back story. I often get a thick bible of back story, but I can't use it. The back story is a tool of the writer. But I can only act what's in the scene.