Story Depth Quotes

The life of a character doesn't just exist between action and cut.

Cry Baby is a character so I think that the next album is going to be about a specific thing in her life or another place in her world. It's going to be a bit deeper into a bigger picture.

Not to make him blush, but any story illustrated by Mike Mignola does things that prose alone can't accomplish. The illustrations create mood and atmosphere, drawing the reader more deeply into the story than words could do on their own.

With years of experience doing whatever it takes to get to the bottom of each story, I am looking forward to covering the stories in the human dimension and impart the passion and visceral reactions the audience seeks.

I like stories that begin with characters. I like to be engaged and moved by the characters in the story. I want to be moved. I want to leave the cinema and think about what I've seen. My sensibility is quite eclectic and it doesn't matter if they are small or large films, I just want to make good films.

Science fiction without the science just becomes, you know, sword and sorcery, basically stories about heroism and not much more.

I believe the most intricate plot won't matter much to readers if they don't care about the characters, especially in a series. So I try to focus hard on making each character, whether villain or hero, have an interesting flaw that readers can relate to.

'The Big Sleep' would have been a more effective study of nightmarish existence had the detective been more complicated and had more curiosity been shown about his sweetheart's relation to the crime.

The first time I saw 'Sunset Boulevard' I was probably eight or nine years old, and it really struck me how it's so simply put and elegant, yet there's so much going on.

Detailing and backstories are so important; only they draw you into the life of a character.

A second book that makes you rethink the first book is the Holy Grail of a series.

One of the rules of the road is that if you want to create the sense of silence, it frequently has more pungency if you include the tiniest of sounds. By manipulating what you hear and how you hear it and what other things you don't hear, you can not only help tell the story, you can help the audience get into the mind of the character.

You are - all your experience just kind of accumulates, and the novel takes a richness of its own simply because it has the weight of all those years that one's put into it.

What excites me about picture books is the gap between pictures and words. Sometimes the pictures can tell a slightly different story or tell more about the story, about how someone is thinking or feeling.

A children's story that can only be enjoyed by children is not a good children's story in the slightest.

I watch a movie or a T.V. show or whatever; if it's good, I like to watch it more than once, and it's always fun to catch something you didn't see initially.

I think first-person narrators should be complex, because otherwise the first-person is too shallow and predictable. I like a first-person narrator who can't totally be trusted.

In writing the new films, I’ve come to realize that AVATAR’s world, story and characters have become even richer than I anticipated, and it became apparent that two films would not be enough to capture everything I wanted to put on screen.

I'm not necessarily interested in telling the story of people who are super likable.

I really like supernatural stories, but, to me, 'Witches of East End' is really grounded. It's not just going for the magic tricks and keeping it superficial and action-y.

Any time someone doesn't like one on the first run, I hope they will give it another shot. At least we'll get another chance. But I do feel, in my approach, I am not really a minimalist. I don't like to leave out ideas that I think could add something to the story. Sometimes, you can't quite pick up on all of it in one sitting. It's not by design. But maybe it's a side effect of my approach.

Okada and Tanahashi, they don't mind being the wrestler that approaches everything day-of in the ring. I like to go in-depth, to tell the human side of Cody Rhodes, the human side of Kenny Omega. That's why Being The Elite exists.

My earlier books, 'The Oath,' 'This Present Darkness' were pretty straight adventure. 'The Visitation' is like a deeper book, more thought-provoking. It probes at character more.

The more films and TV shows I spoil for myself, the more I am convinced that truly interesting stories can't be ruined - the plot thickens with the viewing like a rich sauce.

There comes a point when you're writing a novel when you're in it so deep that the life of the novel becomes more real to you than life itself. You have to write your way out of it; once you're there, it's too late to abandon.