Story Cohesion Quotes

Once you've got a concept and a sense of themes and what it's about, then you can start to add your plot and sort of Tetris in all of the elements that you want to see, but also attach them to something that has cohesion, like a mold.

Nothing is as important as a likable narrator. Nothing holds a story together better.

With 'Noontide Toll', I wanted to cater to a single story but also collectively more than a single story.

In theatre, you rehearse for months and then perform. That way, you're totally in-sync with your character, the other characters, and the story.

I feel like it's important to be flexible, particularly when I'm coming in late in the game and I'm connective tissue in the story. I'm not at the very center. It's important for me to have a certain kind of flexibility and try to help people do what they need to do.

I've done movies in the past that have so many characters and I find it's very hard to follow all these stories. You end up not caring about any of the people and I thought that would be the case in this film, and you had these big speeches for each character, you know, it's like "God that's how you'll have to cut that down in order to paste it all", to edit the movie and my representatives could say "no, you really you ought to check it out.

The novels have done so well because the drawings are abstract, black-and-white. This adds to the universality of the story. "Persepolis" also has dreamlike moments, and the drawings help maintain cohesion and consistency.

Sometimes people are so close to the material, they miss an important cross-reference. You can't drop this line because half an hour later, it affects that line. And the writer is the person who knows that immediately.

You can't feel sorry for a scene. If the movie works without the scene, then you don't need the scene.

There's a great temptation to throw things in, as you put it, that you think are neat, or that you have a very clear, specific memory of and think you could do a good job writing about. What I find is that it's like a seed you plant. You can try it, and if it will grow and connect with other ideas in the book, and you can see connections that you can actually realize on the page, then you're allowed to leave it in. But if it just kind of lies there and doesn't really add up to anything or there's no chemistry with everything else going on in the book, then you have to take it out.

I just try to make comics for myself, try to give it some kind of unity throughout. That often involves tiny details. I'm never sure what's going to be obvious or what nobody will ever notice. I put stuff in my comics that I thought was blatantly obvious, and nobody noticed. And things that I think are buried in the background, everybody gets it. So I try to be consistently aware of every part of the frame.