Donald Miller Quotes

It's rare that I actually have a story in my head. I have events or 'what's the next move?' Like, Maggie, 'where's she going to go in this story, where's she going to end up?' Then the story has to fill in the in-between, and that comes as I'm starting it.

In most good stories, it is the character's personality that creates the action of the story. If you start with real personality, a real character, then something is bound to happen.

To me, action has to come from the plot.

Character is plot, plot is character.

All storytelling is kind of that - there's a bit of text that you put pressure on that spits out some desire that a character has and then you follow that. The other part is that every scene raises an expectation in the reader's mind - that's part of its job is to make you look in and be curious.

Plot is the knowing of destination.

Roughly, the action of a character should be unpredictable before it has been shown, inevitable when it has been shown. In the first half of a novel, the unpredictability should be the more striking. In the second half, the inevitability should be the more striking.

Develop a clean line of action for your leading character

Don't mistake a good setup for a satisfying conclusion - many beginning writers end their stories when the real story is just ready to begin.

Stop trying to write sentences and start trying to write stories.

No, you don't have to start your play with a premise. You can start with a character or an incident, or even a simple thought. This thought or incident grows, and the story slowly unfolds itself. You have time to find your premise in the mass of your material later. The important thing is to find it.

I usually start with an ending, then outline high points of things that happen, and kind of make up the rest as I go along. Occasionally, the characters surprise me, and I wonder how we got here. Other times, the characters are stubborn and won't do something I want them to in the story.

For me, screenwriting is all about setting characters in motion and as a writer just chasing them. They should tell you what they'll do in any scene you put them in.

A story really isn't truly a story until it reaches its climax and conclusion.

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.

All of my books have an internal geometric shape, and once I've seen the shape, then the writing gets much faster and easier because I now do know where we're going, and I know what's motivating these people, why they were here, and therefore, I have some good idea how they got there, and so I can fill in the missing chunks somewhat more easily.

Every film that you make has to have a scene that is the heart that blood flows through in every other scene. That scene doesn't always have to be in the beginning of the film. But it can also be at the end, or in the middle, and that can sometimes make the film more effective.

My characters are not thinking about the act breaks. They're thinking about what they need to do to move forward. As long as I focus on that, the story starts to progress. As soon as I think, 'We're 20 pages in, something better blow up,' we're in trouble.

When I was asked to come over to the States, I thought to myself, 'What the Americans are very good at doing is creating stories with strong movement and plots that carry the movie as it goes along.'

I'm a stickler for structure. So I tend to make sure I'm hitting certain points in the script and that I'm progressing and moving things along. You know, are the characters keeping the plot moving along? And are they true, and do I know their motivations?

Conflict is the place where character and plot intersect.

I would say plotting is the most difficult thing for me. Characterization is only hard because sometimes I feel I get so interested in it that I want to talk too much about the characters and that slows the story down. So I say, "Hey, people want to find out what's going to happen next, they don't want to listen to you spout off about this or that person." But I think even the bad guy deserves to tell his side of the story.

The only way I could finish a book and get a plot was just to keep making it longer until something happens.

So much for endings. Beginnings are always more fun. True connoisseurs, however, are known to favor the stretch in between, since it's the hardest to do anything with. That's about all that can be said for plots, which anyway are just one thing after another, a what and a what and a what.

All stories have a beginning, a middle and an ending, and if they're any good, the ending is a beginning.