Climactic Moment Quotes

The short story can't really hold an interesting event. It can't hold a death or a war or a loss of great magnitude the way either a long story or a novel can.

Despite the volatile mixture of family, politics and past misdeeds darkening the present, 'Hardball' doesn't have the sharp tang of the early novels or the expansive reach of more recent series installments.

Drama is very important in life: You have to come on with a bang. You never want to go out with a whimper. Everything can have drama if it's done right. Even a pancake.

In a lot of cases, writers discover that the novel needs to begin later in the action than they'd first thought.

I'm a little left of center, for sure, with Angels & Airwaves. But even when I get really weird, it's not that weird. It's not like some obscure Sonic Youth record or something. We don't take it quite that far. But what we do like are crescendos, and we do like when a song catches you off guard and it gives you the chills up and down your arms.

Everything has to be pulling weight in a short story for it to be really of the first order.

I was reading stories by Raymond Carver and some of his stuff sort of ended abruptly here and there, where in other short stories that I've read have a bit of an ending, a climax, a twist or something like that.

Some directors ask for a hero introduction number, a duet and a fast number towards the climax. Most of the times, these songs only hinder the story.

I think that standing onstage on January 19th, and my father had just defied all expectations and won Iowa, was by far the most surreal moment.

When I was reading 'The Underground Railroad,' I had to actually hold my hand over the right-hand page so I wouldn't see, by mistake, what was coming up next - it was so suspenseful. it's really masterful.

I started thinking about the endings of novels not because I think endings are so important, but because I think they're actually not as important as they're sometimes given credit for.

There's the moment in 'Saw' where I get up off of the floor at the end. That was shocking, because no one expects it. I thought they did that really, really well.

The best fiction is geared towards conflict. We learn most about our characters through tension, when they are put up against insurmountable obstacles. This is true in real life.

A brief short story may require only a few paragraphs after the climax. On the other hand, in his massive novel 'The World According to Garp,' John Irving's denouement consisted of 10 separate sections, each devoted to an individual character's fate and each almost a story in itself.

In the end, drama is successful if you care about the people.

What's great about well-written material is, if you can shock with justifiable actions, that's the best.

You can throw a novel into focus with one overheard line.

The conventional Aristotelian plot proceeds by means of a protagonist, an antagonist, and a series of events comprising a rising action, climax and denouement.

I never look at twists as a way to trick the audience. Obviously, I think a good story has surprises and unexpected turns, and you always want to do that with an audience. But it has nothing to do with conning them or making them believe so strongly in one thing and then kind of going the other way.

I always prefer to end a show where you're feeling creatively on top.

If you were writing a short ghost story, I would say start very quietly and go, 'One, two, three jump.' Or start with a jump and make it jumpier. But with a long story, it must have rises and falls.

To me, action has to come from the plot.

August brings into sharp focus and a furious boil everything I've been listening to in the late spring and summer.

A whole film is just about arriving at a moment where you hopefully transfer some feeling to the audience.

I think from an actor's point of view, you always want something to play that's dramatic or something that feels like it could be very bold in choice. And of course, the boldest possible choice you could play at the end of a character's life is death.