Plot Quotes

I find the best way to make things real is to just put two characters into a space and let them talk to each other in the way that they would talk to each other, and then see what they would say. I know it sounds weird, but that leads the plot and takes you in another direction.

The absence of plot leaves the reader room to think about other things.

I'm not willing to risk more terrorist plots succeeding and more paedophiles going free.

Every work [of literature] has both a situation and a story. The situation is the context or circumstance, sometimes the plot; the story is the emotional experience that preoccupies the writer: the insight, the wisdom, the thing one has come to say

All good plots come from well-orchestrated characters pitted against one another in a conflict of wills.

Sometimes I wish that just solving the plot problems was enough. And then elves would go and do all the actual work moving the words around.

God is the larger context and plot in which our stories find themselves.

So I work hard to present the human side of my characters while not neglecting the plot.

I'm very close to my family. Not like these big stars - not mentioning any names - who lose the plot and don't know who they are.

Plot does not simply move with time, but spreads out conceptually in metaphorical space.

As readers, we want not only a strong story, but also characters we can relate to, characters that feel real. We have to find something of ourselves in them. Each character, even those only there to serve the mechanics of the plot, should have a number of layers. The entire world you are stepping into as a reader must feel real. It must have resonance, you must be able to touch the light; smell the smells.

If Slater were someone else, Kevin would merely be the poor victim of a horrible plot. Unless he was killed by Slater, in which case he would be the dead victim of a horrible plot

It's easy now, now that it's a story. When you were going through it, it was life. Always much harder to get the plot line on.

I like having a plot, I like characters with a reason to get up in the morning.

I've learned that in the theater the story is everything. Every lyric, every line and every musical gesture has to propel the journey of a given character or the overall plot.

I had to kiss it [ playing Hamlet] goodbye because Marvel have to plot things for the next three, four years.

I lost the plot for a while then. And I lost the subplot, the script, the soundtrack, the intermission, my popcorn, the credits, and the exit sign.

Sometimes I worry that I've lost the plot My twitching muscles tease my flippant thoughts I never really dreamed of heaven much Until we put him in the ground. There is nothing as lucky, as easy, or free

In economics, unlike fiction and the theater, there is no harm in a premature disclosure of the plot: it is to see the changes just mentioned and others as an interlocked whole.

Writing for the theater is a whole different can of fish. The music now has the responsibility of so many things. The plot could be giving you different views of the character; the emotional highlights of a moment.

I'm not so sure that I can teach people how to, you know, write dialogue or create plot or anything like that. But if I can get them and grab them by the scruff of the neck and say, you can do this, and if I see that fire in their eyes, that's when I think I know a writer.

It's just about trying to find material where I'm doing more than just being a plot device. I want to actually get to do scenes that go to interesting places and are challenging to me.

If, technologically, it is possible to make an impenetrable device or system where the encryption is so strong that there's no key - there's no door at all - then how do we apprehend the child pornographer? How do we solve or disrupt a terrorist plot?

Our enemy is motivated by hatred and will not stop planning more plots against until they are ultimately defeated. Today was an important and necessary victory in the war, but there is a long road ahead. We must remain committed if we are to succeed and protect our liberty.

Use what you know. Draw from it. It doesnt always mean plot or fact. It means capturing a truth from your experiencing it, expressing values you personally feel deep down in your core.

Plot is a literary convention. Story is a force of nature.

For me, the lives of children and teens are interesting - they are always changing. There's just so much to sort through. All of this makes for good plots and complex characters.

A writing teacher once told me that the most successful movies and books were simple plots about complex characters. You should be able to articulate your concept in a couple of lines.

But nearly every woman I know has a roughly similar story - in fact, dozens of them: stories about being obsessed with a celebrity, work colleague or someone they vaguely knew for years; living in a parallel world in their head; conjuring up endless plots and scenarios for this thing that never actually happened.

If the bible were published as fiction, no reviewer would give it a passing grade. There are some vivid scenes and quotable phrases but there's no plot, no structure, a tremendous amount of filler and the characters are painfully one dimensional. Whatever you do, don't read the bible for a moral code. It advocates prejudice, cruelty, superstition and murder. Read it because we need more atheists.

Usually when I put my focus on the pacing, the plot, the specific characterizations, - it's ironic - but then I actually increase my chances of writing something that moves people because I haven't become too self-conscious of the goal.

Steve [King] has been incredibly supportive. He's also really good about getting back to me when I have questions about plot or characterization.

The craft of writing is all the stuff that you can learn through school; go to workshops and read books. Learn characterization, plot and dialogue and pacing and word choice and point of view. Then there's also the art of it which is sort of the unknown, the inspiration, the stuff that is noncerebral.

We read novels because we need stories; we crave them; we can’t live without telling them and hearing them. Stories are how we make sense of our lives and of the world. When we’re distressed and go to therapy, our therapist’s job is to help us tell our story. Life doesn’t come with plots; it’s messy and chaotic; life is one damn, inexplicable thing after another. And we can’t have that. We insist on meaning. And so we tell stories so that our lives make sense.

The justification for those actions was that we were living in a very hard, predatory, cloak-and-dagger world and that the only way to deal with a totalitarian enemy was to intimidate him. The trouble with this theory was that while we live in a world of plot and counterplot, we also live in a world of cause and effect. Whatever the cause for the decision to legitimize and regularize deceit abroad, the inevitable effect was the practice of deceit at home.

40 Words for Sorrow is brilliant-one of the finest crime novels I've ever read. Giles Blunt writes with uncommon grace, style and compassion and he plots like a demon. This book has it all-unforgettable characters, beautiful language, throat-constricting suspense.

The real targets of terrorism are the rest of us: the billions of us who are not killed but are terrorized because of the killing. The real point of terrorism is not the act itself, but our reaction to the act. And we're doing exactly what the terrorists want [...] Our politicians help the terrorists every time they use fear as a campaign tactic. The press helps every time it writes scare stories about the plot and the threat. And if we're terrified, and we share that fear, we help.

Morality for the novelist is expressed not so much in the choice of subject matter as in the plot of the narrative, which is perhaps why in our morally bewildered time novelists have often been timid about plot.

I'm real bent on dialogue. I'm just a little bit crazy and when you put that along with 20 years as a criminal lawyer, it's pretty easy to come up with some interesting plots.

Three characteristics a work of fiction must possess in order to be successful: 1. It must have a precise and suspenseful plot. 2. The author must feel a passionate urge to write it. 3. He must have the conviction, or at least the illusion, that he is the only one who can handle this particular theme.

The Illusionist is the storyteller in so many ways. Symbols become his obsession. It's not simply about creating plot - one must also grapple with theme. Nowadays we have a lot of characters and a lot of action but it's hard to sit still and really meditate on meaning, worldviews, concepts, ideologies even. I make my Illusionist do what I've had to do, often with copious amounts of stumbling and frustration. His real humanity comes from being an artist, I think - his creativity is what makes him a man.

The fiction writer has a lot of balls to juggle. Setting, pacing, dialogue, and so on. And let's not forget: plot. That was always a hard one for me. And I always had this spastic tendency to wrap up a story before I'd seen it the whole way through, a sort of writer's pre-ejaculatory tendency: "The End!"

A president of the United States, again, has to bring people together, have a position. We need to be able to penetrate these people when they are involved in these plots and these plans. And we have to give the local authorities the ability to penetrate to disrupt. That's what we need to do.

I was born inside the movie of my life. The visuals were before me, the audio surrounded me, the plot unfolded inevitably but not necessarily. I don't remember how I got into the movie, but it continues to entertain me.

Persons attempting to find a motive in this narrative will be prosecuted; persons attempting to find a moral in it will be banished; persons attempting to find a plot in it will be shot. BY ORDER OF THE AUTHOR per G.G., CHIEF OF ORDNANCE

I studied Hitchcock and Josef von Sternberg under Richard Dillard at Hollins, and that year under his tutelage just completely rewired my brain. Both directors combine moral seriousness with great artistry and, certainly in Hitchcock's case, an enormous respect for plot, for its power to enthrall and delight.

The Cloud Roads has wildly original worldbuilding, diverse and engaging characters, and a thrilling adventure plot. It's that rarest of fantasies: fresh and surprising, with a story that doesn't go where ten thousand others have gone before. I can't wait for my next chance to visit the Three Worlds!

As in all Abercrombie's books, friends turn out to be enemies, enemies turn out to be friends; the line between good and evil is murky indeed; and nothing goes quite as we expect. With eye-popping plot twists and rollicking good action, Half a King is definitely a full adventure.

Any sufficiently advanced technology is indistinguishable from a completely ad hoc plot device.

The best calculation is the absence of calculation. Once you have attained a certain level of recognition, others generally figure that when you do something, it's for an intelligent reason. So it's really foolish to plot out your movements too carefully in advance. You're better off acting capriciously.