Michael Schur Quotes

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.

Don't mistake a good setup for a satisfying conclusion - many beginning writers end their stories when the real story is just ready to begin.

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

I began to be impressed by what made a good book-how you needed to have a sensible story, a plot that developed, with a beginning, a middle, and an end that would tie everything together.

There is no other way of writing a novel than to begin at the beginning at to continue to the end.

The main thing for me is I really like strong endings. If there's a strong ending, you can take more time in the beginning, your first act can be really quite different.

A story really isn't truly a story until it reaches its climax and conclusion.

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

I think stories do have an ending. I think they need to have an ending eventually because that is a story: a beginning, middle and end. If you draw out the end too long, I think storytelling can get tired.

I'm one of those people who think that stories should have a beginning, a middle and an end, and then they're over, and then you tell the next story.

The main thing that I learned from editing is that most people, when they're making a film, they start too early into the story. They will try to set up the characters, they will try to establish things before the plot actually starts.

The story always leads you where it's supposed to go.

Happy endings must come at the end of something,' the Walrus pointed out. 'If they happen in the middle of a story, or an adventure, or the like, all they do is cheer things up for awhile.

Plot is the knowing of destination.

Resolution and conclusion are inherent in a plot-driven narrative.

Do not start a story unless you have an ending in mind. You can change the story's ending if you wish, but you should always have a destination.

A story is a character who wants something and overcomes conflict to get it.

Stories work, if they have a beginning, middle and end.

Without sounding too pretentious, I was sort of a slave to the narrative. When the narrative cracks in, I have to go where it takes me. I had to go to the Bohemian Grove. It was the obvious end to the book.

As a rule, anyone who can tell a good story can write one, so there really need be no mistake about his qualification; such a man will be careful not to be wearisome, and to keep his point, or his catastrophe, well in hand.

Unless the story line carries the scenes, the scenes don't really mean anything.

Sometimes television can just jump from one bit of plot to the next, and the words fill in the in-between.

To be memorable and to have dramatic impact, informational detail must function actively within the dynamic of a story.

My advice to aspiring writers of fantasy trilogies or series is that each book needs two main plots. There's the 'big story', the over-arching grand plot of the entire series, and there is the complete-in-itself, one-book plot.

It's rare that I actually have a story in my head. I have events or 'what's the next move?' Like, Maggie, 'where's she going to go in this story, where's she going to end up?' Then the story has to fill in the in-between, and that comes as I'm starting it.