Quotes from Julie Plec

I'm a night owl; I could work until 6 in the morning without even thinking about it.

When you have an ensemble where characters pair off so easily, it becomes extremely isolating in the story world. You can end up with two actors who have not seen each other face to face all season long.

Showrunning is an arrogant job. You have to be arrogant and hold yourself strong in order for people to hear you. Confidence partners with arrogance. The only person you have to trust is yourself. The only instinct you can trust is your own.

You're supposed to be writing from experience - experience with people, with reading, seeing some homeless guy on the street and making up some story of him in your head. If you never see any of that or have those conversations or even sleep enough to have vivid dreams, then what are you writing about?

To me, TV relationships work at their best when there is a deep longing and feelings and interest and sexual attraction that is unrequitable.

If people love 'TVD' in 20 years the way they still love 'Buffy' today - on its 20th anniversary - I will be happy.

An actor's only perception is of their character, and they're looking at one piece. A writer is looking at the entire story. They're going to see things that the writer didn't see because they're only looking through their lens.

You can love and hate your family with equal measure, but the power of the bond you have to have with them, you can't really ever walk away.

I suffer mightily at the 7 A.M. calls. I'm happy as a clam on the 7 P.M. calls.

I can stay up until the sun's up, no problem, but I do not like getting up in the morning.

TV is really, really, really hard work. You sacrifice a lot of your personal life, a lot of your sanity, just to do one show.

We have a rule: if you're killing off a series regular, you have to tell them first. If you're killing off a person temporarily, you have to warn them before the script comes out.

The supernatural world, the sci-fi world - they give you scenarios that can truly be life or death.

When you're dealing with long-distance relationships, it's a relationship played out over technology. When you're in high school, it's because you're not supposed to act on those impulses yet. So some of my favorite relationships in drama are based in people that can't really be together.

I've learned that I've just barely scratched the surface of knowledge of the profession, and I have deep envy of and appreciation for filmmakers who really, truly understand the physics, the design of filmmaking. They can do story and color and composition and geometry and math and science all at once.

I work very hard so that I can be present all the time for what I do and then carve out little pockets of time as I desire for my personal life.

When you're in a functional friendship or a functional relationship, and you feel like you've got something to share, you can share it with a friend, a lover or whatever.

I wanted to work in Hollywood. I was captivated by it. I read 'Premiere Magazine' and 'Movieline Magazine' and 'Us' before it was a weekly magazine.

I remember just weeping my way through the 'Friday Night Lights' finale with my best friend and just being so happy all the way through because it was so beautiful.

Growing up, I remember watching 'Little House on the Prairie' and 'L.A. Law' and being so obsessed with it.

In junior high, when we got our first VCR, I used to tape four soaps a day. I was a diehard 'General Hospital' fan from when I was nine to 25.

Actors have their own processes, and if you want to be respectful of their process, you've got to communicate with them in the language of their process, and keeping that all straight is a little bit of a head-scratcher.

I'm not a morning person, and yet production is a morning person's game.

I didn't get paid to write professionally until my first episode of 'Kyle XY,' which was the fourth episode of the first season.