A Quote by Laura Amy Schlitz

I could make up characters till the cows came home. Plot's what hard. Very hard. — © Laura Amy Schlitz
I could make up characters till the cows came home. Plot's what hard. Very hard.
I could have quite literally snogged until the cows came home. And when they came home I would have shouted, "WHAT HAVE YOU COWS COME HOME FOR? CAN'T YOU SEE I'M SNOGGING, YOU STUPID HERBIVORES???
I could dance with you till the cows come home. Better still, I'll dance with the cows and you come home." Groucho Marx was never one to pass up an opportunity for a play on words and this occurs in his dialogue of the 1933 film Duck Soup.
I worked very hard in my first marriage, and I travelled constantly to make money for the family, and when I came home, I would be the best father that I could be.
A Thousand Pardons began at the beginning. I wanted it to be one continuous, almost breathless kind of story. In order to do that, it's really hard not to begin at the beginning. There's such a chain of consequence to everything that happens to main characters - it's very hard to break it apart and still be able to hold the plot in your head.
There's a difference between someone who's 'harsh' and someone who is 'hard.' Life was hard. You lived in the South, as my grandparents did, and you had to survive. That is hard. In order to respond to that, he had to become a hard man, with very hard rules, very hard discipline for himself, very hard days, hard work, et cetera.
Fiction writers come up with some interesting metaphors when speaking of plot. Some say the plot is the highway and the characters are the automobiles. Others talk about stories that are "plot-driven," as if the plot were neither the highway nor the automobile, but the chauffeur. Others seem to have plot phobia and say they never plot. Still others turn up their noses at the very notion, as if there's something artificial, fraudulent, contrived.
I always start with characters rather than with a plot, which many critics would say is very obvious from the lack of plot in my films - although I think they do have plots - but the plot is not of primary importance to me, the characters are.
Some people are great lyricists, but they're terrible at melody. But I could do melodies till the cows come home.
It's hard to write a good plot, it's very hard.
But it is hard, whatever you have endured, to give up on love. Hard to stop thinking of it as a home you might one day find again. More than hard
I work very hard at relationships. I've done the thing of being home. I worked all day and came home and did all the stuff at home that a woman is supposed to do, the cooking and the entertaining. I'm a perfectionist, and, besides, I loved all those things.
Midwestern people stick together. Gee willikers, they work hard. There's no glitz, no glamour. When I was a girl in Duluth, Minnesota, I used to get up early and milk cows, so I know what hard work is.
It was hard not to feel violated [in Stone movie], 'cause I have to go home after walking in these shoes all day. It plays a number on your head. Some days I came home and was really upset; it was hard to see the baby [Jovovich's 2-year-old daughter].
So I work hard to present the human side of my characters while not neglecting the plot.
There was a product on late night TV that you could attach to your garden hose - "You can water your hard-to-reach plants with this." Who would make their plants hard to reach? That seems so very mean. I know you need water, but I'm going to make you hard to reach. "Think like a cactus!"
I am never home, and it's hard to keep up with things that are good for you to have in life like relationships, whether they be romantic or friendship. I have to work twice as hard to make sure I don't just check out. That's what I mean by vulnerability.
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