Quotes About Backstory

I'm a really big advocate of ethical fashion. I actually have a travelling boutique called Maison de Mode, which is all about ethical fashion. I also like Maiyet from Paris. They're very Celine-esque in their silhouettes. I love their back story, too: they work with orphans in Colombia and India.

I cringe at backstory. Because it never quite explains or gets into some psychological thing that is never quite right and never quite the truth and who knows why someone is some way.

As a journalist, a big part of what you do is search for drama and conflict. And a lot of the backstory with 'Billions' is grounded in my journalistic background.

I try to make every issue new-reader friendly. I remember being frustrated many times trying to pick up new series that were overladen with baggage. The trick is to make that backstory seem like something compelling that they will want to explore rather than an obstacle course they have to crawl through to get to the story.

Look at Austen. In her novels, you get a dance, followed by an encounter, followed by a letter, then a period of solitude. No flashbacks and no backstory. Let's have no more back story!

Southerners have this love of embellishment. Even when you read a police report, there's some backstory.

At the end of the day, what really matters in 'Poltergeist' is that Carol Anne is missing and they have to go through a portal in the closet to get her back. That matters more than the backstory.

If there is a book that the script came from you have to read it, you have to see what you can get out of it: mood, back story and things that may not even be in the film. They kick off your imagination and broaden the character, I think.

With none of Vader's backstory available at the time, and having just invented the Noghri species for this story, I came up with the idea that Vader might have designed his mask to look like a stylized version of a Noghri face, the better to facilitate his command of the death commando squads.

I was used and tricked and thrown away, but I cannot be forgiven. It's a funny thing. You go your whole life thinking you're the protagonist, but really, you're just the backstory. The boys shrug and go on, they fight and blow things up and half of them do much worse... and still get a key to the city, and eventually you're just a story your high school boyfriend tells the kid he had with his new wife.

The mission of Part 1 is to set up the plot by creating stakes, backstory, and character empathy, while perhaps foreshadowing the forthcoming conflict.

there's a common trick nature plays on its would-be investigators: resemblance, the human urge to map the unknown onto the already known, can be a snare. Just because something looks like something else doesn't mean that the backstory for both must be the same. Rocks scattered across the sky may appear to be a rubble field left behind by an explosion…but unless you stop to think how else you might get there, you rely on assumptions not in evidence.

The beauty of 'The Walking Dead' and the beauty of being on a television show for a while, is that, it's your backstory, it's part of what you are, it's what you carry with you every day.

In your first ten pages you can have three sentences of backstory, used all at once or spread out. In your second ten pages you can have three paragraphs of backstory, used all at once or spread out. But if you put backstory or exposition into dialogue, then you're free to use your own discretion. Just be sure the dialogue is truly what the characters would say and doesn't come off as a none-too-clever info dump.

I believe that every character is a setting, a world with moving parts, and on the other hand, every setting is, in fact, a character - a living breathing thing with personality and backstory. The way stories come to life, at least for me, is when these elements commune in relationship to one another.

It's really interesting working in television as opposed to the theater, where you know the arc of the character and you are able to create this whole backstory.

Most of the names in my books have secondary meaning. Sometimes they foreshadow; sometimes they tell you about the character's origin or back story.

Origin stories are really important to me. I just like that sort of stuff and I feel like it makes a lot of sense to the guys, who they are. If you don't have that stuff, it's kind of a one dimensional version of it.

When I develop a character, I usually start by creating a backstory with whatever information I have access to.

I'm not famous for my back story investigations I'm lucky that I work with good writers and it's usually in the script.

Smart writers really take their time in investing in backstories and characters. As a viewer, you have to invest in them and love them before you can chip away at what's going on more on a deeper level with secondary characters.

What makes a good villain is someone who doesn't just challenge the hero but comes organically out of that character's history and circumstances.

Even the toughest people have a backstory, and villains don't feel like they're the bad guys.

Without knowing it, the subconscious is always categorizing and organizing information, and when we talk publicly about our company's random backstory or internal goals, we're positioning ourselves as the chairs, not the exits.