Dolph Ziggler Quotes

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

I suppose with any good writing and interesting characters, you can have that awfully overused word: a journey.

The action genre is not always the most synonymous with character development.

I don't plot my novels - I move along with my characters.

Sometimes I know what my characters are moving away from or toward; more often I just wait and see. For instance, though I knew Sinkler in 'The Trusty' was going for water, I did not know that he would meet a fetching young farm wife until I got him into her front yard.

I know, a lot of the films I've done, it's obvious I'm going to beat up six guys and just walk out the door. There's not a lot of motivating factors - it's just action for the sake of action.

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

Coming from TV and film, rule number one is that you always service the main character first and foremost. If that's not working, you've got nothing.

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

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

I think it's always good not to listen to what the rules are supposed to be about the arc of the character and the third acts and all this stuff.

In theatre, you learn the story is more important than the actor.

In film, because you know where the ending is, characters can change, but in television, you substitute revelation for change, and that can be hard to pull off.

In the 'Buffy' room, it was never about a plot twist, ever. It was always about, 'Tell the story, tell the characters, complicate their lives, make things get worse,' but we never worked backwards from the plot, and it was always a great lesson.

I love the long-form format of television. I love being able to develop a character, over a long period of time.

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

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.

I think what good television does well is that it shows characters evolving.

The fun thing about doing origin stories is you are introducing the audience to characters.

There's something really satisfying if you've created a bunch of characters that have withstood 25 episodes.

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.

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

I'm interested in telling the character's story, not my beliefs, political or otherwise.

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 enjoy pushing my characters to the limit. No matter how far out there I go, I look for things that make the characters human.