Patrick J. Adams Quotes

I always want the last line to be really good, which may sound silly, but I want it to be a last pleasing line.

How a piece ends is very important to me. It's the last chance to leave an impression with the reader, the last shot at 'nailing' it. I love to write ending lines; usually, I know them first and write toward them, but if I knew how they came to me, I wouldn't tell.

The challenge is always to find the good place to end the book. The rule I follow with myself is that every book should end where the next book would logically begin. I know that some readers wish that literally all of the threads would be neatly tied off and snipped, but life just doesn't work that way.

How you leave the reader is so important - not the climax; I call it the 'exit feeling'.

The ending is really the most important part of the movie. If the first hour and 20 minutes is terrific and the last ten minutes stinks, everybody walks out of the theatre and says: 'That was a lousy movie!'

I seem to have a talent for writing endings that seem just right to me but that frustrate other people.

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.

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.

In my newspaper days, your endings could be literally sliced off in the composing room, so it was dangerous to get attached to them. Yet I think this has made me work harder on endings in fiction.

I often find that writers who disavow the importance of an ending are just not very good at endings.

The most important thing is how the season ends.

Pay-per-views bring conclusion to storylines and what has been going on from television. It is important to give viewers satisfactory pay off over storylines and that is why pay-per-views are important.

You don't always have to have the ending, but you want to have a satisfactory conclusion.

The hardest part about storytelling is knowing what happens in the end.

Each story presents a mystery that has to be solved in the process of writing. When I'm at work on a story, I'm completely immersed in that world and in the lives of those characters; they're utterly real to me. Then, when I've completed the story, it all just falls away. The whole compulsion to understand is over.

The great thing about fiction is you can fix things and make things better.

My job is to entertain the readers in such a manner that, when they reach the end of the book, they feel like they've gotten their money's worth.

I'm so tired of stories starting, 'Maud Jones was walking her dog down Broadway.' You've got to go over to the back page somewhere to finally find out the damn dog was run over by a truck. Get the thing told, for heaven's sake. Everybody doesn't have to be an O. Henry.

With 'Broken Harbour,' a third of the way through, I worked it out and had to go back and bloody rewrite.

Every great story leaves you questioning. If all of the questions are answered, and everything is resolved, it's boring. There's nothing to talk about afterwards.

I hope they find some way to come up with a new story that involves Beast in my timeline.

People remember the last thing you did.

I've had such an incredible arc, so it made sense to me, creatively, that we've told Laurel's story. It has come to an end in the 'Arrow'-verse.

I can't imagine something worse than scripts being written into a tunnel, thinking, 'I don't know when this ends. I don't know.' It usually ends when people get sick of it, but I think it's great when it gets to end on its own terms.

I'm writing for entertainment. I like people to reach the end and feel they got their money's worth.