Juliet Marillier Quotes

For the most part, romance is written in third person, and it's written in multiple points of view, so you're in the hero's head, and you're in the heroine's head. I've always said that I'm more of a narrator than a creator.

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.

I quite like some of the movies that have many characters in them.

The producers felt that 24 would be good for the audience, to really get to know who these 12 and 12 are.

Dialogue is something I don't get a lot of on 'Game of Thrones.'

In a novel, it's hard to keep track of everybody.

A lot of people have asked me about some of the characters that appear in 'Clockwork Prince,' like Aloysius Starkweather and Woolsey Scott. A lot of people like Woolsey Scott, which I was really happy about because he's very fun to write.

You treat characters like people you meet in life-friends or mentors.

'Homeland' really is one of those shows where they start to write more or less depending on what's kind of going on in a relationship between characters.

Oftentimes what happens is that the writer understands one character, but they don't understand the other one, and the other one ends up not being written as well.

If a movie has more characters than an audience can keep track of, the audience will get confused and lose interest in the story.

You just play what a writer writes, in terms of what a character chooses to do and how a character chooses to deal with their various relationships.

It's exciting that you've got an entire season to experience 24 hours of highly dramatically charged human experience. It allows for the close inspection of minutiae in behaviour.

Stories are great, but at the end of the day, you remember that moment and that moment and that moment. 'The Avengers' had all of this great, giant action, but for all of the clever dialogue, it's the moments.

My stories are character driven.

I write from this tight third-person viewpoint, where each chapter is seen through the eyes of one individual character. When I'm writing that character, I become that character and identify with that character.

One of the things you have to be acutely aware of when shooting episodes out of order is your character's relationship with the other characters.

All topics, issues, and subjects in 'The Room' add to the depth of the characters in the movie, and they are equally important.

Any important series like 'Game of Thrones' or 'The Walking Dead' base their product around the characters and their background.

Movies are about people; there're not about ideas. It's like great novels. Great novels are not about ideas. There's never been a great novel about ideas.

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.

In some ways, I don't consider a single Hap and Leonard novel the best, but I consider them my best characters.

Great novels have great characterization no matter what. But multiple points of view let me examine characters from entirely different perspectives, allowing me to learn more about everyone in the process.

Let your characters talk to each other and do things. Spend time with them - they'll tell you who they are and what they're up to.

I don't know quite how a story develops in my head. It is a bit chaotic. If I am working on a series, one of the main characters at least is already in existence as well as some setting and minor characters. Finding the other main character can be a challenge. Sometimes this character already exists in a minor role in another book.