Michael Giacchino Quotes

I always think plot is what you fall back on if you can't write, to keep things going.

The suspense of a novel is not only in the reader, but in the novelist, who is intensely curious about what will happen to the hero.

What I do is put my characters into situations that are so precarious there is no way to get out. And then I figure how to get them out.

Stories are emotional journey where we can project ourselves emotionally in another space.

What captivated me about 'The Flash' is the human drama in it.

What resonates with me whenever I watch a great movie or TV show is the balance of inevitability and unpredictability. And it's a very delicate balance.

Even though 'Glee' is sometimes a hard road, I am very excited about writing a multi-year arc.

My writing has always been what you call 'narrative fiction' in the sense that it's got very strong plots and twists at the end.

When you think of a great twist or a red herring or a way of misdirecting the reader, it is good, but you know that they are just tricks at the end of the day, and the way to keep interest is to write characters that people care about.

Judgments and secrets are what make a good novel.

I never know how a novel is going to end, because you don't really know what's going to be at the bottom of a novel until you excavate it.

Even though the third season of 'Necessary Roughness' was only ten episodes, they were an extremely intense bunch of episodes, especially toward the finale.

All fiction relies on the real world in the sense that we all take in the world through our five senses and we accumulate details, consciously or subconsciously. This accumulation of detail can be drawn on when you write fiction.

I think the tricky balance, the most important thing more than the horror is to have a compelling story, compelling drama, a show about great characters that you care about and you want to come back every week to see what they're up to.

As a writer, I try to appeal to the 'elusive boy audience' the same way I try to appeal to everyone: I do the very best I can to create interesting characters, addictive plots, tons of conflict, believable settings, unexpected plot twists, intriguing beginnings, and satisfying endings.

The opera tells the story with all the built-in contradictions and from many different angles.

We like drama. Even in our comedy, we like drama.

I like making stories and characters that people can relate to. I also like giving the audience a departure from whatever they're thinking about in their life and enjoying a show or a movie.

I love a really good storyline.

I'm a fan of great storytelling.

I better make the plot good. I wanted to make it grip people on the first page and have a big turning point in the middle, as there is, and construct the whole thing like a roller coaster ride.

I'm not much of a plotter. I start off with an inciting incident, and in classic crime fiction what happens is that all the action flows from that incident. It's very comfy when it all ties up and feels like a complete universe, but my stuff doesn't always work that way.

Some authors, when starting a novel, imagine a place first. Others, a character starts taking shape in their head. I start with a hook, a situation, a 'what if.'

Jeff Eastin is good in that he'll tell me a plot twist that's coming up if he thinks it would be something Peter would know ahead of time, and if it's something that would be a surprise to Peter, I'll tell Jeff, 'Oh, don't tell me. I don't want to know.' And then it's exciting to read it and exciting to play it.

We try to be driven by what's a good story, what's truthful, and the drama of what happens next.