Rich Moore Quotes

In fact, some reviewers have said that as they got into the story they forgot that the protagonist is a black woman. They were moved by the story - by the people as a whole - and not by the little things.

I never know what I'm going to write next. If I'm still writing the book but I'm very near the end, and I begin to think of what I'd like to do next, then I'll know that what I'm writing is in hand. I'll think of an ending and it will be fine.

When sex is necessary for the plot of a book, or a character development, then I don't shy away from it. Why should I?

I try to do stories that make a difference - stories that affect the way people think, stories that people need to hear - and usually what drives me is to do stories about people who have no voice, people who have no political power, people who are overlooked by society.

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

I'm really looking forward to developing just really fun, complex, interesting stories about people who happen to be black.

To write a story about New York that only deals with people in your age and socioeconomic bracket, that feels dishonest to me. So much of New York comes from everyone bumping into each other.

What attracts me to material are characters that I know - characters that I know people don't know but I know - and bringing them to the screen. Spotlighting voices that have not been heard before on screen.

With 'Delirium,' I had to spend time thinking about the political, social and religious structure of a different world. But it was a fun challenge.

As writers, we must keep throwing problems at our characters. Conflict is the heart of good storytelling. Hiking in nature along a twisting trail can remind us what a good story feels like. It's the opposite of a treadmill - or an interstate highway.

'Divergent' was my utopian world. I mean, that wasn't the plan. I never even set out to write dystopian fiction, that's just what I had when I was finished. At the beginning, I was just writing about a place I found interesting and a character with a compelling story, and as I began to build the world, I realized that it was my utopia.

In a lot of films, they're showing more complete, developed characters of diverse ethnic backgrounds. The larger concern is to be able to tastefully explore the stereotypes, and still move past them to see the core of people.

I do hope the success of 'Ms. Marvel' will open doors for other characters and other creators.

I consciously think about the ethnicity of every character that I create and cast. But one thing that is equally important is quality representation. It's not enough to put an African-American in there, a female in there, a gay character in there: How significant is their contribution? Can they drive the story?

I just have to let the story go the way it needs to go and let them take the detours they want to take, and I'll get to the end.

My goal is to broaden and deepen the range of African-American characters on television, so I always try to show human beings.

It's not enough to be diverse in your casting. You have to service those characters; you have to make them fully well rounded because people are watching.

It was really great to be part of the Philip Roth story as a woman in a very complete way.

I feel like you are allowed in fiction to embrace imagination and try to enter other worlds. And I feel like you should push yourself to try to persuade your reader that you have the authority to engage with people who, you know, lived in the past, who live in the future, other genders, other places, other cultures.

With TV season structures - and I'm a huge TV watcher - you look at shows like 'Breaking Bad,' which is my favorite show of all time, and 'The Sopranos,' which is pretty high up there as well, and there was that thing where, every season, Walter White would go up a level, but there would be a new bad.

I wrote 'Redefining Realness' because not enough of our stories are being told, and I believe we need stories that reflect us so we don't feel so isolated in our apparent 'difference.'

If we can tell a good story with characters audiences can care about, I'd like to think that prejudices can fall aside and people can just experience the story and these characters for the human beings that they are.

Some have said I focus on marginalized communities, but it's not like that was my mission statement. I've just told stories that interest me, and that I'm not seeing enough of, on groups of people and subcultures that are often not seen.

Axone', of course, was on racism, but it was also a kind of representation that hadn't happened ever before of the Northeast and the people from there. It was a nicely-written script; it was funny.

We promote Asian storytelling - not just Asian stories but Asian people in stories with the full spectrum of the human experience. When you say, 'Oh, it's not enough attention on Asians. It's more black and white,' that game becomes like you're playing the discrimination Olympics.