A Quote by Katie Cassidy
I've had such an incredible arc, so it made sense to me, creatively, that we've told Laurel's story. It has come to an end in the 'Arrow'-verse.
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Before 'Wings' came out, I told a few people that at the end of book one, readers should think Laurel made the right choice. Then, at the end of 'Spells,' they should understand why Laurel made the choice she did.
I was a 'Laurel and Hardy' nut. I got to know Laurel at the end of his life, and it was a great thrill for me. He left me his bow tie and derby and told me that if they ever made a movie about him, he'd want me to play him.
Plotting is difficult for me, and always has been. I do that before I actually start writing, but I always do characters, and the arc of the story, first... You can't do anything without a story arc. Where is it going to begin, where will it end.
One of my main problems with music is that the basic formula is always the same: verse, chorus, verse, chorus, bridge, verse, chorus, chorus, chorus, end. One of the bands that changed that was The Beatles. If you listen to 'Everybody's Got Something to Hide Except Me and My Monkey.' It's three verses, bridge, end.
There's an arc to an action sequence, and you need to come out the other end knowing your character better, and maybe the story has moved forward in a compelling way.
Individual stories from the Bible had been made into movies, but no one had taken on the arc of the Bible story as one meta-narrative from Genesis to Revelation.
I look for two things when I am about to launch into a book. First, there has to be a dramatic arc to the story itself that will carry me, and the reader, from beginning to end. Second, the story has to weave through larger themes that can illuminate the world of the subject.
Each day has a story to - deserves to be told, because we are made of stories. I mean, scientists say that human beings are made of atoms, but a little bird told me that we are also made of stories.
We brainstorm an idea and then we do flesh it out a little bit - we come up with a script, mostly to have beats and a sense of a story and a narrative arc. Often when we get into the space and onto the location, that changes and something we discover in the moment becomes the moment, becomes the story, becomes the character.
I've always had a love affair with New York City, and I've threatened to get an apartment there one day. But it just made sense for me to set 'Burlesque' on the Sunset Strip in Los Angeles. It's a place I know intimately well and love, and I think there's a great story to be told with L.A.
You know what Hans told me last week?" she says as I open the door of my fitting room. "He told me to write down a list of everything I wanted to say about that women-and then tear it up. He said I'd feel a sense of freedom." "Oh right," I say interestedly. "So what happened?" "I wrote it all down," says Laurel. "And then I mailed it to her!
In the end, the railroads made America and nanotech will make the 21st century, and that is the end of the story. The beginning of the story and the end of the story.
Changers are characters who alter in significant ways as a result of the events of your story. They learn something or grow into better or worse people, but by the end of the story they are not the same personalities they were in the beginning. Their change, in its various stages, is called the story's emotional arc.
I know that all good things must come to an end and I've had an incredible ride. I just want to end it on the right note.
The incredible thing happens at the beginning of the story always, you notice, not the end. A Sherlock Holmes story is never a trick story.
The rains would end, and when they did, Ian and I would be together, partners in the truest sense. This was a promise and an obligation I had never had in all my lives. Thinking of it made me feel joyful and anxious and shy and desperately impatient all at the same time—made me feel human.
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