A Quote by Caroline B. Cooney

I'm one of the lucky writers: plots come easily to me — © Caroline B. Cooney
I'm one of the lucky writers: plots come easily to me
I'm one of the lucky writers: plots come easily to me.
Roles came to me. I was very, very lucky in that respect. Great directors, great writers, great producers - they saw something in me that they wanted for their picture or their play or whatever it was, whether it was Edward Albee or whether it was - or Peter Hall, directors. They would come to me, thank God. I was lucky. Lucky, lucky, lucky.
I always tell my students to seek out other writers as models, and though it took me years to heed my own advice, it really was life-altering when I found writers who wrote long stories, full of back story and side plots and sub-histories.
I was lucky because logarithmic plots are a device of the devil.
To me, it all comes down to things being character-driven. It's hard for me to look beyond that. CG and all this cool stuff - so be it. But to me, it pretty much begins and ends with character-driven plots rather than technologically-driven plots.
Life wasn't easy growing up; it was frustrating. If I had been a better reader, then that would have come easily, sports would have come easily, everything would have come easily, and I never would have realized that the way you get ahead in life is hard work.
Some artists, such as Jack Kirby, need no plot at all. I mean I'll just say to Jack, "Let's let the next villain be Dr. Doom" ... or I may not even say that. He may tell me. And then he goes home and does it. He's so good at plots, I'm sure he's a thousand times better than I. He just makes up the plots for these stories. All I do is a little editing ... I may tell him that he's gone too far in one direction or another. Of course, occasionally I'll give him a plot, but we're practically both the writers on the things.
My muse is an ungrateful harlot who’s abandoned me to actually come up with my own plots.
I'm a big believer in comedy writers. I've always defended the honor of all comedy writers. It's extremely difficult, but I've always felt that comedy writers far more easily can move toward drama than vice versa.
All the characters and plots were predetermined. Games make bad plots.
All plots tend to move deathward. This is the nature of plots.
I was afraid the teacher was going to make me read in front of class and I was going to look bad. [But] if I wasn't dyslexic, I probably wouldn't have won the Games. If I had been a better reader, then that would have come easily, sports would have come easily. And I never would have realized that the way you get ahead in life is hard work.
Plots come to me at such odd moments, when I am walking along the street, or examining a hat shop… suddenly a splendid idea comes into my head.
I think it's a question which particularly arises over women writers: whether it's better to have a happy life or a good supply of tragic plots.
There were times in my career where I could have easily been traded, easily been given up on, and I think me making strides, me making a commitment to myself to come in and get better showed people what I could do each year. From there, people started to believe in me, and the organization believed in me, and once that happened, it was on me to take this thing on.
In the '50s, '60s, '70s, before television became easily accessible, even the most well-known writers were not recognised. The writers remained mostly an anonymous lot then.
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