Julie Plec Quotes

I also wanted to do something that I hadn't really seen in almost any black novels, which was a complex love story in which both people were extremely intelligent and talented and understood a lot of things and were still at odds getting it together.

I just write characters, and somehow they happen to be a boy and a girl. When the story is put together, and their characters interwoven, they do end up together somehow.

I think one of the great strengths of 'The Flash' is just how close everyone is on the show. They tend not to have these raging conflicts, like what we keep giving everybody on 'Arrow.' That show is more of a soap opera, and I don't say that derogatorily.

There are so many romantic comedies made, but very few dramas or love stories. And with a love story, you have to take time to develop three-dimensional characters.

A standard sitcom... is a very standard idea, like these people falling in love and living with each other, and all these people living with each other. It's like, okay, we hooked them up in episode 15, how do we bust that, how do we find a new kernel in it?

Believe it or not, friendships are difficult to write in fiction. They can easily come across as forced, particularly if they involve too much explication and too many overt gestures of affection.

I'm a big fan of the Mass Effect games, and that's all about social manipulation and observing people and alliances and relationships.

I think a lot of drama, nowadays, is character-based and development-based, but 'True Blood' is very plot-oriented.

Even if it's a thriller or a comedy, it's always a love story for me, and that's what I concentrate on, because the love stories are my surrogates for the argument: two people in conflict that see life differently.

I think we worry way too much about where books should fit inside genres. In a romance, the hero and heroine are on a journey together, and no matter how awful it gets, by the end of the book they'll be in love, with the probability of a happy ending.

What I've learnt from 'Friends' is don't let the characters get together because then it won't be as good afterwards.

The real love story of 'Fleabag' is the sisters. That's the true heart of the piece.

Every great movie is about the people, even if it's a great popular success like 'Gone With the Wind.' It's really not about the Civil War. It's about Scarlett and Rhett. That's who you go to see. You're not going to root for the North or pull for the South, or, you know, it's the people you remember.

I really enjoy 'Mad Men,' but I'm hugely into 'Homeland.' The characters are very well drawn and complex.

As a writer, you understand how hard it is to build up backstory for characters, so you can have impactful moments. You have to build toward something and then pay it off.

I love 'The Guardian' series. Bianca St. Ives is one of my favorite heroines ever, and the combination of action, suspense, and romance makes her story pure fun to write.

When I finished 'P.S. I Still Love You,' I truly was done with the series. I kept saying the books were two halves of a heart. But I suppose time and space had made me nostalgic, because my mind kept drifting back to Lara Jean and Peter, wondering what they were up to.

Plot is just not my gift. I'm fascinated with complex characters, and that doesn't mix well with complex plots. And by the way, when the plot is simple, you can move one piece around and make it feel fresh. Hell or High Water's a good example: I don't tell you why the brothers are robbing the bank.

I want people to not be embarrassed going through breakups and divorces, to know what to do before they get involved in a relationship.

Family dramas are tough, as a playwright. Most stories are about characters going on a trip or a new character coming to town, because that's how you learn information about them. But with family, they all know each other already. There's years of history in every interaction.

It doesn't matter if these characters are supposed to be together forever: if their chemistry gets stale, you want somebody to die, you want to put somebody in a coma, you want to write them off the show - anything to save you.

Some of my most enjoyable moments as a writer have come while conjuring a meet cute.

If someone is really close with you, your getting upset or them getting upset is okay, and they don't change because of it. It's just part of the relationship. It happens. You deal with it.

The family is a haven in a heartless world.

I'm excited to just have somebody that I can protect. Someone I can make sure is superloved and never really experiences the turmoil that I went through with my family, to just have a really loving environment that grows intelligent and in love and breathes happiness and productivity.