A Quote by Anthony McCarten

I often find that writers who disavow the importance of an ending are just not very good at endings. — © Anthony McCarten
I often find that writers who disavow the importance of an ending are just not very good at endings.
Endings of one rook and pawns are about the most common sort of endings arising on the chess board. Yet though they do occur so often, few have mastered them thoroughly. They are often of a very difficult nature, and sometimes while apparently very simple they are in reality extremely intricate.
I'm not an endings person. I don't do endings. There may have been people in the band who wanted this to be an ending from time to time, but me and Amy don't really do endings. You cannot escape from us. Once we're friends with you, that's it.
In those early days, the important thing was the happy ending. I did not tolerate unhappy endings - for my heroines, anyway. And later on, I began to read things like 'Wuthering Heights,' and very, very unhappy endings would take place, so I changed my ideas completely and went in for the tragic, which I enjoyed.
There are no endings, and never will be endings, to the turning of the Wheel of Time. But it was an ending.
People generally like happy endings, which is something I learned from my years in advertising. I like happy endings myself, but only if they're honest. I'm just as happy with a terrible, hopeless ending.
My own way of writing is very meditated and, despite my reputation, rather slow-moving. So I do spend a good deal of time contemplating endings. The final ending is usually arrived at simply by intuition.
I can well imagine that certain writers, even writers that we'd consider today very great writers, may not necessarily have tested highly on IQ just because of their numerical skills, or maybe they may not be very good at memory, and are not particularly good at these kinds of tests.
That 'writers write' is meant to be self-evident. People like to say it. I find it is hardly ever true. Writers drink. Writers rant. Writers phone. Writers sleep. I have met very few writers who write at all.
I've remade a few movies and they all have one thing in common: great endings. If you're going to remake something, make sure that ending is tight. It's a little less challenging, if you have a great ending. If you don't have a great ending, don't remake the movie.
As far as personal philosophies go, I think you should know your ending. I know that's radically different from a lot of other writers who just organically like to find the story. Other than that, I try different things and mess around. I'm still just playing a good bit.
My family doesn't do happy endings. We do sad endings or frustrating endings or no endings at all. We are hardwired to expect the next interruption or disappearance or broken promise.
I find it ironic that happy endings now are called fairytale endings because there's nothing happy about most fairytale endings.
I think there is a huge difference between writers who have very big sales, and writers who have small sales. Even writers with very high reputations, even Nobel prize winners, often sell in very low figures.
The endings to me are the key moment in 'Weekend' and '45 Years.' I know how I want my gut to feel at the ending. Even if I can't articulate in words what that feeling is, I'm trying to find ways to get there.
I think it's great when writers get recognition; it doesn't happen very often. I just don't want that writer to be me. Let it be Aaron Sorkin or, you know, somebody good.
Only bad books have good endings. If a book is any good, it's ending is always bad - because you don't want the book to end.
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