Quotes About Climax

tudta, hogy egy civilizáció akkor éri el legfejlettebb, utolsó elÅ'tti szakaszát, amikor a káosz a rend álcájában parádézik, és tudta, hogy már elérkeztünk oda.

I saw this thing years ago, where somebody filled a gymnasium with ping-pong balls and mousetraps. And then somebody threw just one more ping-pong ball in there, and literally, in five seconds, the room was popping. And then it was dead. And that's how it was with 'Dallas.' Just... 'boom!'

Plot is tremendously important to me: I can't stand books where nothing happens, and I can't imagine ever writing a novel without at least one murder.

And one more thing...

His act may start out slow, but it tapers off.

La tension dramatique, c'est la véritable malédiction du roman parce qu'elle transforme tout, même les plus belles pages, même les scènes et les observations les plus surprenantes, en une simple étape menant au dénouement final, où se concentre le sens de tout ce qui précède. Dévoré par le feu de sa propre tension, le roman se consume comme une botte de paille

every life is cinematic—you just need to know when to fade to black.

This isn't a script, Julian says. It's not going to add up. Not everything's going to come together in the third act.

'The Return Of The King' has a conclusion.

It's always easiest for me as a writer if I know I have a great ending. It can make everything else work. If you don't have a good ending, it's the hardest things in the world to come up with one. I always loved the ending of 'The Kite Runner,' and the scenes that are most faithful to the book are the last few scenes.

Almost sneezing is like almost having an orgasm. Sure it tickles getting there, but if you don't get the release you were hoping for at the end, then what's the point?

Click click, bang. Curtains close, and ... scene. Type 'The End'. None

History's kaleidoscope worked its permutations, its pace ever faster, approaching some unknown crescendo.

I need some kind of... like... last minute, poorly-set-up deus ex machina!!

Narrative Tension is primarily about witholding information.

There's almost always a point in a book where something happens that triggers the rest of the plot.

If you make a trilogy, the whole point is to get to that third chapter, and the third chapter is what justifies what's come before.

The great thing about a trilogy is that it feels like you've got a beginning, a middle, and an end.

My conception of it was that in a normal film you have a story with different movements that program, develop, go a little bit off the trunk, come back, and end.

When you start a script you aim to hit a note you know you want to end in general.

Our universe will not see out its days by barrelling towards some big, climactic, Revelations-style ending, but by slouching through an increasingly meaningless jumble of dispersing elements, then limping on towards the most bland, uniform, entirely generic middle you can possibly imaginable, and dying there.

In real life we want only the best for the people we care about. In fiction, we want things to get the worst for the characters we care about the most, at least on their pathway to the climax.

For a twist to work, it needs to be (1) unexpected, (2) inevitable, (3) an escalation of what preceded it, and (4) a revelation that adds meaning to what has already occurred.

Readers couldn't care less how many acts are in your story. In fact, if you write it well, they probably won't even be able to keep track of them. Instead, they care about the forward momentum of the story as it escalates toward its inevitable and unexpected conclusion. Let the shape of the story determine the number of acts, not the other way around.