A Quote by Seth MacFarlane
You break the story first, and then you go into the specifics.
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"Real" drawing is about specifics. It's about describing an object as accurately as possible. In a comic strip you have to draw a picture of the idea of the object. You have to draw the word that you are picturing, then you have to mix in specifics with it for it to work as a story. But you are still working with drawn words.
[Donald] Trump has quietly rolled out an immigration plan with specifics and everyone wants specifics. He's got immigration with specifics, a black and Hispanic outreach plan with specifics.
I work in a dramatic context, meaning we write with a lot of character specifics, a lot of story specifics. There's a lot of architecture in our songs.
A military preparedness strategy with specifics yesterday and today rolls out a school of choice plan with monetary specifics. So [Donald Trump] has pivoted over the last, he had a very rough go after the conventions.
Readers want a story, not a pattern. It's the specifics of a story that make it really ping our various reader radars.
The lovers enter into a story together - "this how we met, this is how we were meant for each other" - and then at some point (in my experience, at least), the story splits, and they no longer share it. Then, you either change the story, or you break up. I've always broken up.
Because I come from the theater, I use the images of the theater and of movies a great deal when I write. I see the story in my head. I have to break down the outline of a story first. I have to know where I'm going. Usually I have a good beginning and a good ending, and then I think, "Now I have to find my way through it."
My first instinct was to cast as close to the short story as possible, but then I realized that I needed actors who could go for it and that they had to function well as a couple in a love story.
I think you can't go into any story-breaking process thinking, 'What if they come off as unlikeable?' You just gotta break the story because if you know who your character is, the story will tell you. The story will dictate and say, "This feels off-kilter for this particular person."
There's the story, then there's the real story, then there's the story of how the story came to be told. Then there's what you leave out of the story. Which is part of the story too.
You have to be dynamic. You have to be able to change. So a lot of times we'll go to a country or go meet people, and then while we're there, the story changes and you have to be able to go with that. And then the story comes out in the editing room, which is a very documentary sort of process - not how news works. So that's different.
I think we go through the world feeling alone and singular, and you forget that your one story is probably the same as millions of people's stories. Maybe with different specifics. But a lot of people experience the same things.
It's very difficult for me to look at politics with clear eyes. I'll read a story in the paper and the first thing that pops into my head is, what would my dad say about that? Then I try to break out of that and think, 'What would Said say about that,' and then it gets complicated.
This is my first summer [with] no trouble. I ain't go to jail for speeding. Didn't go to jail for DUI. I didn't break my foot. I didn't break my other foot. I'm one step ahead of the game already.
At first, I see pictures of a story in my mind. Then creating the story comes from asking questions of myself. I guess you might call it the 'what if - what then' approach to writing and illustration.
When it comes to improv, Specifics beget specifics.
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