A Quote by Elizabeth Hoyt
I think I do pretty well with child characters. It's hard to write kids that are realistic, not annoying, and bring something to the story.
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The love story between the hero and the heroine has to be at the center of the book. I think that's pretty true in my books. I usually write a secondary love story, with maybe nontraditional characters. Sometimes I write older characters. I'm interested in female friendships, and family relationships. So I don't write the traditional romance, where you just have the hero and the heroine's love story. I like intertwining relationships.
You have to do three things really well to make a successful film. You have to tell a compelling story that has a story that is unpredictable, that keeps people on the edge of their seat where they can't wait to see what happens next. You then populate that story with really memorable and appealing characters. And then, you put that story and those characters in a believable world, not realistic but believable for the story that you're telling.
I think it's a short story writer's duty, as well as writing well about emotions and characters, to write story.
I am not the most annoying person to bring to a movie 'cause I basically hold it in and write about it later or tweet about it. The most annoying people to bring to movies, I think we all agree, are those who read the book first.
Kids kill a show! It's, like, a fun concept when the character is pregnant, but then if a show runs for a while, I'm sorry, but it gets annoying when it starts to talk. You get a child actor in there, and unless that child actor is freakin' awesome, it's going to be annoying.
I think it's really hard to make songs that pursue an agenda. You can kind of do it a little bit through a character, so the character gives voice to something or their story, the story of the character tells you something, but, for me anyway, it's really hard to write directly about politics.
I don't really decide what the core of the story is before I write. I write to figure out what the story is. And I think the characters end up talking to you and telling you what they want to be doing and what is important to them. So in some ways, your job is to listen as much as it is to write.
I think I can design a children's line after I have a child. For me, when I take on a new category I feel like I need to be really well educated in it. I have lots of friends with kids, and I enjoy shopping for them, but I think until you have a child, it's really hard.
I don't really write for adults or kids - I don't write for kids, I write about them. I think you need to do that; otherwise, you end up preaching down. You need to listen not so much to the audience but to the story itself.
I think the complaint that I hear most often from kids, even kids who like to write is that don't know what to write about. A journal is a great source of story starters.
It's my opinion that if you're trying to tell a realistic story that centers around realistic characters, you can't help but touch on important issues. Those issues are what make us human.
A lot of people who don't write for kids think it's easy, because they think kids aren't as smart as they are, or that you have to dumb down what you would normally write for kids. But I think you have to work harder when you write for kids, to make sure every word is right, that it's there for the right reason.
Once the world has been created, the fantasy author still has to bring the story's characters to life and unfold a gripping plot. That's why good fantasy is such a hard act to bring off.
I believe a novel must first of all be a good story. My hope is that the spiritual message is woven in so well, is such a part of the fabric of the story and of the characters' lives, that it is subtle but meaningful. This is difficult to do well and is something I constantly endeavor to improve.
You can have the greatest characters in the world and write beautifully, but if nothing's happening, the story falls on its face pretty quickly.
People who take books on sex to bed become frigid. You get self-conscious. You can't think a story. You can't think, "I shall do a story to improve mankind." Well, it's nonsense. All the great stories, all the really worthwhile plays, are emotional experiences. If you have to ask yourself whether or not you love a girl or you love a boy, forget it. You don't. A story is the same way. You either feel a story and need to write it, or you better not write it.
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