A Quote by Philip Pullman
I tried writing out a plot with the second or third novel I wrote, and it was so boring, so desperately boring.
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Introduce your main characters and themes in the first third of your novel. If you are writing a plot-driven genre novel make sure all your major themes/plot elements are introduced in the first third, which you can call the introduction. Develop your themes and characters in your second third, the development. Resolve your themes, mysteries and so on in the final third, the resolution.
It was only after five years in the army, when I was having to do a very boring job in a very boring place, that I thought: 'Why not try writing a novel?' partly out of youthful arrogance and partly because there had been a long line of writers in my mother's family.
It's more like I write multiple first drafts, handwritten. So with my first novel, I wrote whole drafts from different points of view. There are different versions of that novel in a drawer on loose-leaf sheets. I won't even look at the first draft while I'm writing the second, and I won't look at the second before writing the third.
Never in my lifetime have I been called boring. But I think I was a boring candidate for president because I tried to be responsible. And one of the greatest problems I had is that I was governor.
Writing is boring, very boring, and it takes so much patience.
We passed a sign for Boring, Oregon. We never went there, but I was positively enchanted with the idea that there was a town called Boring. 'Gravity Falls' is partially from what I imagine Boring might be like. Or maybe the opposite of Boring, Oregon, would be 'Gravity Falls.'
I finished my first novel - it was around 300 pages long - when I was 16. Wrote one more before I got out of high school, then wrote the first Lincoln Perry novel when I was 19. It didn't sell, but I liked the character and I knew the world so I tried what was, in my mind, a sequel. Wrote that when I was 20, and that one made it.
Don't send out a newsletter just to send out a newsletter. One newsletter a year that is really interesting is more beneficial than 12 that are boring. If you write two or three boring newsletters in a row, your readers will start to think you write boring books.
Life is boring. The weather is boring. Actors must not be boring.
Jane Austen was writing about boring people with desperately limited lives. We forget this because we've seen too many of her books on screen.
Plot comes first. The plot is the archictecture of your novel. You wouldn't build a house without a plan. If I wrote without a plot, it would just be a pile of bricks. Characters are your servants. They must serve your plot.
I can't be boring. If people like my designs, then meet me and find out that I'm boring, they won't want my stuff.
I'm just giving you some spiel, the ludicrous plot of a novel, a story I invented to touch your heart—one-third bullshit, one-third booze, and one-third genuine tenderness, you know the kind of thing.
You can't just skip the boring parts." "Of course I can skip the boring parts." "How do you know they're boring if you don't read them?" "I can tell." "Then you can't say you've read the whole play." "I think I can live a happy life, Meryl Lee, even if I don't read the boring parts of The Tragedy of Hamlet, Prince of Denmark." "Who knows?" she said. "Maybe you can't.
The level of control, that's part of what's so appealing about filmmaking - you have so much control over what the reader, the viewer, is noticing from moment to moment. They can't do that boring boring boring thing as easily.
I'm kind of a boring person. People think I get to travel the world and I rap or whatever, but I'm pretty boring. My life is pretty crazy enough, and when I'm not on the road or doing something, I'm kind of boring.
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