Story Arc Quotes

What's fun about doing a series is you get to take some time to create the character.

I loved 'Lost,' from beginning to end.

Without a good story, a franchise won't work.

I would love to do the whole 'Anonymous General Manager' storyline again. The way it was supposed to turn out was that I was supposed to be this almost mob-boss style character with this Napoleon complex, throwing his power around while running Raw. Obviously things didn't work out that way.

Character is plot, and casting is character.

I think finite series gives you more time to write down your journey in any show. When it's a finite series, you know the start and know your end. The writers and actors know what is going to happen, so the interest is not lost.

When I'm plotting out a book, I use a storyboard - I'll have maybe three lines across on the storyboard and just start working through the plot line. I always know where relationships will go and how the book is going to end.

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.

Storytelling is my passion, and it rises from a love of reading.

I love 'Boardwalk Empire,' but there were moments where I thought it didn't have the constant through-line that 'Breaking Bad' did and 'Better Call Saul' does.

Although a novel takes place in the larger world, there's always some drive in it that is entirely personal - even if you don't know it while you're doing it.

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 want to tell a story and shape it all the way through to the end.

A film has a beginning, middle, and an end. There is a certain amount of time that you have to embody these people. You know the entire story arch. But on TV, you have to let your guard down. You don't know how long the show is going to last. There is this excitement that comes with developing a character long-term.

One of the things I noticed about the '2 Broke Girls' pilot was that it looked like a new episode in a season and not a pilot, and that's an amazing sign.

Book 4 is the end of the 'Korra' series. So we've got 52 episodes planned. When all is said and done it will have taken I think about five years to make.

I prefer to bring these to the service of story rather than to let them replace narrative.

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.

It would be far less interesting, after 'The Empire Strikes Back,' to have an hour-long movie in between 'Empire' and 'Return of the Jedi,' where Luke is training. It's so much cooler to cut from end of 'Empire' to beginning of 'Return,' where he's become the Jedi.

I'm taken by a story and a character. I'll read a script, and if it touches me and moves me and makes waves, that's why I'll choose it.

Anyone who's been reading my stuff can see that there's a lot of tracks being laid for future stories.

Character is plot, plot is character.

First you wonder if they're separate stories, but no, they're not, they're contingent stories and they form a pattern. And you begin with some of the island as the place to which the heroine of the book returns.

If you do weave one-liners into a story, you have to have an overall story as well, otherwise it doesn't really count as narrative.

From the outset, I conceived Star Wars as a series of six films, or two trilogies.