Terry Crews Quotes

My fictitious characters will take the bit between their teeth and gallop off and do something that I hadn't counted on. However, I always insist on dragging them back to the straight and narrow.

What makes a story a story is that something changes. Internal, external, small or large, trivial or of earth-shattering importance. Doesn't matter.

I understand why creative people like dark, but American audiences don't like dark. They like story. They do not respond to nervous breakdowns and unhappy episodes that lead nowhere. They like their characters to be a part of the action. They like strength, not weakness, a chance to work out any dilemma.

I think mystery writers and thriller writers - whatever genre you want to call it - are taking on some of the biggest, most interesting kind of socioeconomic issues around in a really interesting, compelling way.

I started as a playwright. Any sort of scriptwriting you do helps you hone your story. You have the same demands of creating a plot, developing relatable characters and keeping your audience invested in your story. My books are basically structured like three-act plays.

An action movie should, like any other, follow the narrative traditions of literature. That means there should be subtlety, a slow build and a gradual bringing together of all the separate threads of the plot. To see all of it coming together slowly is very rewarding for the audience.

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.

It's always good to have a story arch.

On a TV show, you don't know where the character is going.

A standard sitcom... is a very standard idea, like these people falling in love and living with each other, and all these people living with each other. It's like, okay, we hooked them up in episode 15, how do we bust that, how do we find a new kernel in it?

What's great about 'Game of Thrones' is they change the perspective, the POV, all the time. So you will have one story told by one character and you'll go, 'Oh my God, horrible', and then maybe the season after you have the same story told but from the person you thought was just the most horrible, vile creature.

In most shows, there's usually a hero or a protagonist, and even if there are multiple heroes or protagonists, most shows try and make it so you really always know who's the good guy and who's the bad guy.

You want to suggest something new, but at the same time, resolve the drama of the action in the novel.

You have a movie and it proves itself and then certain things happen.

One of the ready advantages of writing a road or quest story is that it mirrors the experience of writing a novel.

I never know, when I start writing a story, what's going to happen, or how it will all get sorted out.

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.

Shooting a new story out of order every week is a fundamentally different beast than stage work, where you tell the same story every night from beginning to end.

With storytelling, you have to see yourself as the hero in the movie of your own life, and I kind of see myself as a supporting role, a walk-on role that has five lines. I say, 'Mr. President, the Russians are here.' That's how I see myself.

One of my favorite Tarantino films is 'Jackie Brown,' and 'Jackie Brown' does it so well, where I'm watching the back half of that movie, and I don't know which side Jackie Brown is playing. I think it's really ingenious for Tarantino to keep us in the dark on that.

I try to mix the characters up and not be second guessed by the audience.

It doesn't matter if these characters are supposed to be together forever: if their chemistry gets stale, you want somebody to die, you want to put somebody in a coma, you want to write them off the show - anything to save you.

Conflict is the place where character and plot intersect.

Lir said, "It is my right. A hero is entitled to his happy ending, when it comes at last." But Schmendrick answered, "This is not the end, either for you or for her.

Have a short story feature two situations, and then let them solve each other.