Eric Kripke Quotes
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Every so often, you want to map out your plot mythology but never so specifically that you can't let a story surprise you. You want to allow the type of action of the writer's room so that you have the ability to take a left turn.
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It's always better to go personal and painful than to go big.
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The ability to get inside your character's head in a graphic novel is really fun and useful because one, you can really define the character's voice and two, it's a way easier way to convey what the character's thinking by actually laying out what he's thinking.
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Television showrunners are a foolishly optimistic bunch.
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I'm not a fan of endless mystery in storytelling - I like to know where the mythology's going; I like to get there in an exciting, fast-paced way - enough that there's a really clear, aggressive direction to where it's going, to pay off mystery and reward the audiences loyalty.
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I like to find ideas where the research is going to be fun.
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I really am a very research-oriented writer.
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Kids aint supposed to be grateful! They're supposed to eat your food, break your heart.
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You think you're funny? I think I'm adorable.
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I have a bad habit, in the shows that I run, of killing off the people that I love.
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I've always said at the beginning of every single season of the show when I was running the show in the writers' room, "This is the last season, so let's smoke 'em if we've got 'em."
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A show is going to be good and fun to work on, if the research is interesting.
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When you're writing TV or movies your vernacular is time, it's all based on rhythms, a character takes a beat or two characters have a moment, like everything is about time. And when you're writing a comic, everything is about space. It's how many panels to put on a page, when should you do a full page splash, what is the detail that you see in any particular image.
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When I am kicking around show ideas, or really any idea, usually an image comes to me. I don't really start with a character or a logline like, "What if the electricity turned off?"
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Let's be honest, any show will live or die based on how good the characters are, how good the actors are, how complicated the relationships are, how grounded they are and how much heart they have.
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When you do 22 episodes of a network show, it's incredibly useful to have a format that gives you a jumping-off point for a story.
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I like to tell stories that have beginnings, middles and ends.