Quotes About Narrative

At the heart of any successful film is a powerful story. And a story should be just that: a narrative with a beginning, middle, and end, powerful protagonists that audiences can identify with, and a dramatic arc that is able to capture and hold viewers' intellectual and emotional attention.

A TV show has to be a certain length and, you know, you have expectations from the viewers. You know, you want to see the characters again, or you want to see certain dynamics between the characters or certain kinds of storylines. And you kind of figure out how to best fit what you want to say into that format.

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's something extremely rewarding about following characters that you like and knowing that there's as many hours of viewing as you have the appetite for. You can tell more complex stories; you can create more complex characters in the longer form.

Canada has changed. We are a bit less self-deprecating, less apologetic about viewing our own stories.

I don't usually like teen novels written in the present tense, particularly those told from a first-person viewpoint. Too many writers seem to believe that using either or both devices automatically imbues their stories with deep seriousness and a contemporary feel.

You know, we're each the hero of our own story and we perceive what's going on around us, and especially in a relationship, from the kind of viewpoint of, 'Well, this is my story, and I'm the hero of that, and I justify what I do around it.'

I write from this tight third-person viewpoint, where each chapter is seen through the eyes of one individual character. When I'm writing that character, I become that character and identify with that character.

I can only write from a man's viewpoint.

I often find myself unsatisfied with books 'about' Indians because they are written from the viewpoint of non-Indians.

The stories in our music form a special viewpoint on the story of America in the 20th Century.

As a reader, I notice political views regardless of whether or not the book is fiction. What annoys me is when said views do nothing to advance the narrative.

For me, my party views don't advance my narrative. Until I can find a way to write political satire like my idols Christopher Buckley or P.J. O'Rourke, I'll simply say what team I play for and leave it at that.

Most of my books have always worked through juxtaposition, jumping through different point of views and time.

Christine Keeler was not allowed a voice. There were so many men who were imposing their views and opinions onto her and they decided who she was. Christine never had the opportunity to truly give her side of the story.

Before, there were only four pay per views throughout the whole year. Guys who were doing soap opera storylines could build them up week after week. We had longevity, and that is one of the main reasons why people remember.

To reconstruct stories and scenes, nonfiction writers must conduct vigorous and responsible research. In fact, narrative requires more research than traditional reportage, for writers cannot simply tell what they learn and know; rather, they must show it.

What's great about 'Game of Thrones' is they change the perspective, the POV, all the time. So you will have one story told by one character and you'll go, 'Oh my God, horrible', and then maybe the season after you have the same story told but from the person you thought was just the most horrible, vile creature.

I think of myself... as a troubadour, a village storyteller, the guy in the shadows of the campfire.

I was brought up telling stories, when I was a kid, in the tiny village where I grew up. Storytelling was a tradition.

Every villain needs her story told.

The villain of any story is often the most compelling character.

As you do on any cable series, if they introduce you as the villain, then you better start working towards making him a really good guy, or if they introduce you as a really good guy, then you better start working towards being the villain. Your character has to go somewhere, or else they become very uninteresting.

It really doesn't matter whether it's the villain or the hero. Sometimes the villain is the most colorful. But I prefer a part where you don't know what he is until the end.