Debbie Macomber Quotes

I don't think people are ever going to a place where they're like, 'I'm over stories about character and love.'

I have always argued, in a good novel, interesting things happen to interesting people.

It's people politics, people dynamics that make a show really good, whether it's 'Desperate Housewives' or 'Lost' or 'The Sopranos.' It's the people we've grown to love or otherwise.

I love the idea of real-life experiences finding their way into fiction. I think that's really cool.

A strong story can move me to tears, and it doesn't matter whether it's a science-fiction or fantasy world. It's about what happens to a person, the choices they make. That's what's interesting.

I love all the characters I write.

Something that 'Game of Thrones' always does successfully is that action sequences are never just action sequences. There's always a point of view, and you're always identifying with one person or one group of people.

It doesn't matter which genre you're working in, you try to find an honest relationship within that space, and say if it's the romance genre, within that you have to find a story and characters that resonate with an audience.

I usually give a book 40 pages. If it doesn't grab me by then, adios. With young adult books, you can usually tell by Page 4 if it's worth the time. The author establishes the conflict early, sometimes in the first sentence. The themes of hope, family, friendship and overcoming hardship appeal to most everyone.

This is the story, this is your character, I have the sense of the landscape, I have the sense of the scene, I have all that stuff. But I'm also looking for something else to happen, an accident or something. You're focused on the story you intend to tell and then you have to have a peripheral net out to catch these accidents.

Any show I'm working on, I want the stories to always be about something, and to have the potential to be emotional. That's the kind of story that I like.

As a novelist, I'm endlessly fascinated by human behavior and interactions.

If you know exactly what your character knows, it's a drama.

I learnt to love reading. And then I started scribbling stories, and I liked that even more.

I think I would struggle with any job if it was purely about effects. Even as a viewer, those aren't the kind of things that interest me. I think ultimately you have to be connected to characters and their relationships. Otherwise, it's not drama to me.

I like reading a lot. Jeffrey Archer and Robert Ludlum are my favourite authors. I love making realistic cinema, so I read non-fiction more.

I think it's a short story writer's duty, as well as writing well about emotions and characters, to write story.

I tend not to know what the plot is or the story is or even the theme. Those things come later, for me.

I'm just interested in serialization in fiction. I'm fascinated by it. I love the 19th-century novels. I'm interested in ways to bring that back to fiction.

The basic quality that any great story must have is a story that illustrates the human condition.

It's really about, oh come on, this guy wouldn't say that or he wouldn't do that, you know, it's about the characters, about the story, about the situation.

When you're writing a novel - at least the way I write is I work from what I would call 'emotional atmosphere,' ambiance to ambiance.

For me, emotion comes first. If I have to change a scene, invent a scene, change dialogue, or put Graff by the lake in order to feel that dynamic, and the end results feels like 'Ender's Game,' then hopefully it works.

The trick to making a story matter is that every now and then, somebody you care about has to go. If it's somebody that you don't care about, then it doesn't really have - the stakes aren't there. But if you do that every now and then, then the story matters to people. And there are actual stakes involved, emotional stakes.

As an actor, I think a mistake that any storyteller can make is to play the ending.