Story Refinement Quotes

Much of the time in the writer's room is spent working on story, and I was always challenging myself to make it more interesting, tighter and more surprising: to come at it sideways in a way that the audience wasn't expecting.

I've done as many as 20 or 30 drafts of a story. Never less than 10 or 12 drafts.

When your story is ready for rewrite, cut it to the bone. Get rid of every ounce of excess fat. This is going to hurt; revising a story down to the bare essentials is always a little like murdering children, but it must be done.

When you write you tell yourself a story. When you rewrite you take out everything that is NOT the story.

We kept moving forward, kept pretty particular about certain things. Don Handfield is really great with story, so we kept working on it from that angle and developed a lot of IP over the years, which we became very proud of.

Once I get over maybe a hundred pages, I won't go back to page one, but I might go back to page fifty-five, or twenty, even. But then every once in a while I feel the need to go to page one again and start rewriting.

When you write a story, you’re telling yourself the story,” he said. “When you rewrite, your main job is taking out all the things that are not the story.

Once you figure out what's best for the story, take out the rest.

I always overwrite - really awful, long bits of script - and then I trim it down to the bare bones and then add a little bit to colour it in. At the end of all of my stories, I test for wordless comprehension. So I remove the text and see if it works by itself. And if it does, I feel that that's a successful story.

The challenge is the same whether or not I'm collaborating: to empathize with your reader and to tell a story that will matter to him or her. But the mechanics of going about that challenge change when you're collaborating, because you have someone to help refine your thinking and expand your vision of what might happen.

There's some things that you learn as you're shooting, and as you're editing that are key, because when you start you don't have the brain that can finish it. You don't really know what it is, and that's the key job; figuring out what you actually have, not what you're dreaming of having.

Revision has its own peculiar pleasures and its own peculiar frustrations. The ground rules are already established; the characters already exist. You don't have to bring the characters to life, but you do have to make them more convincing.

When you're trying to force things in a script, it seems like it's getting somewhere, but it isn't real or interesting. All the bad material you've written becomes an albatross around your neck. So I really don't like writing a lot of bad stuff, I prefer to just keep narrowing it down to stuff I think is solid.

Some after-the-fact storytelling is inevitable, and, in fact, very good and useful. But then we want always to be able to enrich the stories, or maybe change the stories with a fresh infusion of specificity.

My first draft is always way too long; my books start out with delusions of 'War and Peace' - and must be gently disabused. My editor is brilliant at taking me to the point where I do all the necessary cutting on my own. I like to say she's a midwife rather than a surgeon.

At the beginning when you're writing and building the beats of the story, everything that you put in there seems very essential to the story. However, when you have the movie finally edited and it's 4 four hours long, you realise that some of the events and some of the beats can be easily lifted but the essence of the story remains intact.

First of all, the first cut of the movie was like three and a half hours and I walked away going, 'Wow, I know there's like twenty minutes that I can cut - ' when I first saw it 'But I don't know after that.' The first time I put up then in front of people I was like, 'Oh, my God, I can take that out and that out and that out.'

I love rewriting because that is where and how you discover the story. It's like you have this skeleton, and you get to put flesh on it and hair and clothes and really wonderful jewelry.

Not every script that rolls in is ready to shoot. Few are, actually. So you go back and work on the thing.

Once I've got the first draft down on paper then I do five or six more drafts, the last two of which will be polishing drafts. The ones in between will flesh out the characters and maybe I'll check my research.

Sometimes I wish that just solving the plot problems was enough. And then elves would go and do all the actual work moving the words around.

In 'Dark Skye,' I rewrote every one of the Pandemonia scenes over and over before I was happy with them - hundreds of pages are now sitting in a folder called 'Cuttings,' never to be read. Ouch!

Once I've discovered the story, I might restructure it, maybe move things around, set up a clue that something is going to happen later, but that happens much later in an editorial capacity.

I posted the first three chapters and I had enough people say that chapter two was dragging that I cut it out just before the book went to press. And I'm glad I did. The book is a lot better without it.

I did a lot of this through writing flashbacks. Many of the flashbacks took place at Cal's school and I eventually cut them because they didn't seem essential and they slowed the pace of the story in the first third of the book. They were essential to me, though, in that I learned about my characters.