Eva LaRue Quotes

My books are character-driven. They're not driven by the story.

I think you have to love the characters that you write. I don't know how you could possibly write a TV show where you didn't love the characters.

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

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.

My stories are character driven.

My books, I will say one thing - they all have a driving narrative, and you have to turn the pages, and the way you do that is to create characters that you really love and care about and put them in a fairly dire situation.

Most of my films have been very character driven.

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.

I think main storylines are what always intrigued me, with those that were the relationships between the characters against whatever backdrop, whether it was in an ordinary universe or a universe in the future.

I don't really think in terms of genre, I think in terms of story and character.

The characters are the plot. What they do and say and the things that happen to them are, in a sense, what the plot is. You can't take character and plot apart from each other, really.

In drama, the characters should determine the story. In melodrama, the story determines the characters.

[Townies] was a huge cast. It was a bit ungainly, I think with 12 regular characters they had to keep writing for.

When you have a show that's called Jessica Jones, if Jessica Jones isn't in a scene the rest of it become almost irrelevant until you earn other character storylines. You've got to flesh out those characters enough that you can travel.

I don't think about the stories so much, as the characters themselves. They live on, and they are almost as real as I am.

I might spend 100 pages trying to get to know the world I'm writing about: its contours, who are my main characters, what are their relationships to each other, and just trying to get a sense of what and who this book is about. Usually around that point of 100 pages, I start to feel like I'm lost, I have too much material, it's time to start making some choices. It's typically at that point that I sit down and try to make a formal outline and winnow out what's not working and what I'm most interested in, where the story seems to be going.

With a novel, you have the reader with you a lot longer, and you owe him a lot more. Obviously you have to have a plot - I say "obviously," although I think a lot of fiction doesn't, and nothing seems to happen. But to me, there should be something that happens, and it should be at least vaguely plausible. And because the readers are going to be with these characters for a long time, you have to get to know them and like them and want to know what happens to them.

I think that American audiences are more used to following one character.

You lose somebody you've possibly known for years and on top of that you lose a character that you love seeing on TV so I think that kind of makes it cool that we pay a price too. That it is painful on many levels and its amazing to be writing that moment and crossing that line right on the page and seeing the ugliness of it and having to deal with it. It's a very weird thing.

Remember that you don't write a story because you have an idea but because you have a believable character.

The story is the only thing that's important. Everything else will take care of itself. It's like what bowlers say. You hear writers talk about character or theme or mood or mode or tense or person. But bowlers say, if you make the spares, the strikes will take care of themselves. If you can tell a story, everything else becomes possible. But without story, nothing is possible, because nobody wants to hear about your sensitive characters if there's nothing happening in the story. And the same is true with mood. Story is the only thing that's important.

But if you don't understand that story is character and not just idea, you will not be able to breathe life into even the most intriguing flash of inspiration.

Let your character be kept up the very end, just as it began, and so be consistent.

A good novel is an indivisible sum; every scene, sequence and passage of a good novel has to involve, contribute to and advance all three of its major attributes: theme, plot, characterization.

I don't believe, in a show like ours, that you really want to see character growth. That's just my opinion. Maybe to a small degree, but nothing serious. To that end, it doesn't have the same importance that it would have, if you were on an hour-long show. I think an audience gets really hungry for a character to grow and change on an hour-long show, and I think I would be more antsy.