I had an erroneous idea that writing a duology would be simpler than writing a trilogy because I would get to cut out the middle book. It turns out it was actually harder because 'Wildcard' became this combination of having to write a book two and three at the same time.
I go straight into shooting with a script that's 80 per cent complete and I wait for my characters to grow on me before I finalise the climax.
In re-reading 'Presumed Innocent,' the one thing that struck me - and I re-read the book four different times in writing 'Innocent,' interested in different things each time - but I did think there were a couple of extra loops in the plot that I probably didn't need. The other thing that sort of amazed me was how discursive the book was.
I think action should be revealed through character, so if you have a plot problem, it's probably a character problem.
Personally, I believe in fiction because the stories I like are those with a beginning and an end.
Doing 'YHA' felt as if I was shooting for a film because it was a love story with a definite ending and good script.
If we get to shoot the third one, which I'm really hoping we do, the third one's great. There's a big uprising and rebellion, and my character Gale's a big part of that. If we get to shoot that, I'll be very, very pleased.
To be true to life, a novel must have an ending that is inevitable given the specific personalities of the characters involved. The novelist must not impose an ending upon them.
I always designed 'Gravity Falls' to be a finite series about one epic summer-a series with a beginning, middle, and end.
Why do you keep reading a book? Usually to find out what happens. Why do you give up and stop reading it? There may be lots of reasons. But often the answer is you don't care what happens. So what makes the difference between caring and not caring? The author's cruelty. And the reader's sympathy...it takes a mean author to write a good story.
I was reading stories by Raymond Carver and some of his stuff sort of ended abruptly here and there, where in other short stories that I've read have a bit of an ending, a climax, a twist or something like that.
It's amazing how far you can get into a plot before you figure out what you're doing.
Generally my typical books have lots of twists and turns a big surprise ending and then usually another surprise at the end and ideally, as in Garden of Beasts, we get to the very end and we find at the last few pages that there's yet another surprise.
I think too often in films, people think endings are a summation of plot, and I don't like that. Because once you know where you're going as an audience member, then it's like a video game. You're just waiting for them to get through the levels and beat the bad guy. And I just think that's boring.
For me and my storytelling and the way that I embrace stories in the way that I embrace characters, I desperately needed to know that everything was okay.
My key interest in choosing scripts is character-driven stories, because there are so many stories that sacrifice character for plot.
Kai was always dead and gone. That was always the plan. That was the plan when I signed on for the role. That was the plan once I was talking to Julie when the role was coming to a close. It was always, 'He dies and is actually gone.'
Many thrillers follow such reliable formulas that you can look at what's happening and guess how much longer a film has to run.
Introduce your main characters and themes in the first third of your novel. If you are writing a plot-driven genre novel make sure all your major themes/plot elements are introduced in the first third, which you can call the introduction. Develop your themes and characters in your second third, the development. Resolve your themes, mysteries and so on in the final third, the resolution.
The book is the book and it will always be there. It's a quiet ending. In the book it's a contemplative ending which I think you could certainly do that in a movie.
There are only three possible endings -aren't there? - to any story: revenge, tragedy or forgiveness. That's it. All stories end like that.
When you're reading a novel, I think the reason you care about how any given plot turns out is that you take it as a data point in the big story of how the world works. Does such-and-such a kind of guy get the girl in the end? Does adultery ever bring happiness? How do winners become winners?
I consciously try to end my novels at a point where I won't have to wonder about my characters ever again.
I saw 'The Help' on DVD. I was blown away by Viola Davis: she really straddled that fine line in the plot between what was tragic and what was heart-warming.
Short stories are my favorite art form. A good one is compact and complete, a telling little slice of life, capturing a moment in time that - for the character - defines her, changes her, is the tipping point for all that will follow.
