Shelley Conn Quotes

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.

Besides the mistakes that are pointed out, I love the way readers become involved with the characters. When readers start asking about character motivations instead of concentrating on the special effects, it means you're connecting with them on a personal level.

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

For me, any story I tackle begins with the human relationships and not the plot.

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

I think it is important that you care about the characters, and you are not just waiting for the next action sequence but have a vested interested in what happens to them.

I try to trace the connection between the characters and that way a story or plot emerges.

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

I am a firm believer that a good plot makes for a fun enough read, but it's not what binds us. If we don't care about the characters, we won't care - not in a lasting way - about what's happening to them.

'The Last Of Us,' to me, is just amazing storytelling, because everything's from the character point of view, which even movies don't really do successfully a lot of the time.

My stories are character driven.

I always find that really interesting, you know, when I get to see characters that I love in TV and film and theater around their family.

My main problem with fiction is that once my characters get moving, you just have to follow them along and get out of the way of the story, but sometimes they pull me in too many directions, and I need to focus.

My characters are always utterly sympathetic to me, if that makes any sense.

You can film the most exciting car chase and the most exciting stunts, but if you don't care about the person inside the car, and you don't care about their predicament, you're not really going to care about the action, either.

I'm interested in characters and relationships.

Audiences need to engage with characters.

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.

You have to be involved and relate to the characters in order to make a film that is true emotionally.

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.

If we get caught up in a story, it's because we've started to care about the characters, and that can only happen if we've moved beneath the surface.

I like my characters to be ones I think about long after I've finished reading the script.

As a writer, you have to realize that people want to like the characters, so you have to be careful to keep them involved.

You can really help support a character if you understand the setting. So for that reason I generally write about Philadelphia.

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.