Quotes About Series

I am a fan of sequels even though they are inevitably awful.

In serial music, the series itself is seldom audible... What I'm interested in is a compositional process and a sounding music that are one in the same thing.

We watch TV together all the time. Just going through Midsomer Murders is going to take another decade.

They need only to give up the idea of forcing us to acquiesce to their groups and series, their socialized projects, their free- credit banks, their Graeco-Roman concept of morality, and their commercial regulations. I ask

Definitions vary, but the most useful comes from the National Institute of Justice, which describes it as a "series of two or more murders, committed as separate events, usually . . . by one offender acting alone. The crimes may occur over a period of time, ranging from hours to years. Quite often, the motive is psychological, and the offender's behavior and the physical evidence observed at the crime scenes will reflect sadistic, sexual overtones.

To me, writing an ongoing series feels like driving a freight train downhill. All you can do is steer and pray.

In writing a series of stories about the same characters, plan the whole series in advance in some detail, to avoid contradictions and inconsistencies.

When I'm writing the book I'm laughing at just how overblown the characters seemed. How full of himself he seems. But I didn't get far enough in the series to really drive the joke of it home.

In 'W,' I did not change a word in the script. I have never spoken this much in other series. I just stick to whatever is written. I always carry the script with me and read it before I sleep.

I think I work much harder on the children's books. I suppose I enjoy that. I find it interesting that although there are more than 30 books in the Discworld series, it is the four that were written for children which have won the awards. I've never been quite certain why this is.

I think most people, almost 96 percent, remember me as Catwoman on the 'Batman' television series. It is a part I will always be grateful for, because it was one of the great parts ever written for a woman. She was sexy, sassy and successful. I played many things, but that is what I will probably be best remembered as.

Every script I've written and every series I've produced have expressed the things I most deeply believe.

I was incredibly determined - I wrote short stories, I wrote the beginnings of novels. I wrote a little children's book and sent it to the editor-in-chief of the children's division of Simon and Schuster and she asked me to write a little children's book for a series she was doing.

I wrote seven Myron Bolitar novels in a row, and I never want to write a Myron book where he just solves a crime. Every one of them I want to be personal, and I want him to grow and change. The problem with that is, it makes the series limited, you can't write a series where a guy is always going through some kind of crisis.

As soon as I finished the first book, I wrote a second, which I hope to sell this year, and I have just about finished the third book in the series. Two more are already outlined. I'm in this for the long haul.

I've always wanted to be a part of that experience of writing to an audience that is just starting to fall in love with books. When I felt that my writing for adults had become cemented, I decided to write a YA series.

The Greatest Living Yankee is Whitey Ford, who came out of Aviation High School, which was then in Manhattan, and helped pitch the Yankees to victory in the 1950 World Series when he was 21.

I was really proud of the response to the first series of 'Blood.' Right from the get-go I knew it was a really good yarn and that it would have a chance if we got it right.

Catterick' was originally a movie. That was what we intended for it and we had the money for it and everything. But we couldn't be bothered - I know that sounds terrible, but it's the truth. At a later stage we went back, split it up and made it into the TV series. But, yeah that was supposed to be a movie and we just didn't bother.

In the beginning of the year 1665, I found the method of approximating series and the rule for reducing any dignity of any binomial into such a series.

There's this funny thing with pilots that you have to sign the contract to do the whole job before you're even offered the part. And they make about a million pilots a year, but hardly any of them get turned into series.

I feel like my experience on 'Community' was that I saw just how important that first year is for a series. That is where you work all the pieces out, and that means honing the characters' voices, setting that tone, finding your angle.

In my dream world I'd do a nice series every year, preferably one that wasn't too long. But really - I've got to be honest here - it wouldn't kill me if I never did it again.

For my 'Perfect Chemistry' series, I did movie-style book trailers, and my fans went crazy for them.