Brad Stone Quotes

There is always drama and there will always be drama, but its the way its presented in my head that makes it so interesting. Everyone gets their time in the middle of the drama.

Suspense films are often based on communication problems, and that affects all of the plot points. It almost gives it kind of a fable feeling.

With any good story, you need the adversary, the heroes and villains. You need a good mixture to make it work.

You won't have a story unless you have conflict, which means if there's no conflict in a situation, people look for a way to make some.

I think that I am interested in the resonance between character drama and high stakes, either situational or political or social or other kind of elevated drama, and I tend to find that those things combust.

We need the villain sometimes. It makes for an interesting story.

The goal, I suppose, any fiction writer has, no matter what your subject, is to hit the human heart and the tear ducts and the nape of the neck and to make a person feel something about the characters are going through and to experience the moral paradoxes and struggles of being human.

Big stories need human stakes.

Why, for example, do the great writers use anticipation instead of surprise? Because surprise is merely an instrument of the unusual, whereas anticipation of a consequence enlarges our understanding of what is happening.

If you have a beautiful story, it has to have conflict. If you don't have conflict, it can't be a good story.

The important thing is the storytelling and having a script that makes you feel you're living and breathing through the characters.

Tension is the cornerstone of any good story.

The way I express ideas is through the plot, Suspense is an important part of expressing an idea.

I prefer drama; I think character-driven drama is my favorite kind of stuff to go watch, and I like being challenged by that kind of stuff in that way.

You can have the greatest characters in the world and write beautifully, but if nothing's happening, the story falls on its face pretty quickly.

The challenge that I set for myself was to see whether or not plot and structure could coexist, and why it was that we had to always privilege one above the other.

There are three sides to every story: your side, my side, and the truth.

The essence to me of all good drama is argument.

You can't help but reveal your bias, and you can't but invest personally in any story that you tell.

I think conflict is one of the things that makes for a good story.

Stories work better when not everyone gets what they want.

You want, whenever you're telling a story, to have a certain amount of range, and you want to be able to take the audience on that ride with you.

The writing is only ever the attractive thing about a part. And also if all the elements within the writing come together - the character and the structure and the narrative - if they are all there then you become excited.

Good drama must be drastic.

I think that novels are tools of thought. They are moral philosophy with the theory left out, with just the examples of the moral situations left standing.