Plot Quotes
Countries across the world are taking action now to help them track paedophiles and terrorists who abuse new technology to plot their horrific crimes.
When a book is just a plot, you know, two men fight for the love of a woman in a wild frontier, I immediately ask, 'Why?'
There's almost always a point in a book where something happens that triggers the rest of the plot.
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.
In a novel, the biggest symbiosis exists between plot and character. In a song, it would be the lyrics and the melody.
All good plots come from well-orchestrated characters pitted against one another in a conflict of wills.
There is not one big cosmic meaning for all, there is only the meaning we each give to our life, an individual meaning, an individual plot, like an individual novel, a book for each person.
I begin by assembling notes on characters. Large swaths of the plot become clear to me as I do this.
Life and career are the same thing. Every life has to have a plot and a plan. You have to recognize this early and be quite cold-blooded in the discovery and articulation of that plot.
A plot without action is like pasta without garlic, like Dolly Parton without cleavage, and like a writer without his similes.
A novel is not a summary of its plot but a collection of instances, of luminous specific details that take us in the direction of the unsaid and unseen.
Compelling characters are not cogs in the machine of your plot; they are human beings to whom the story happens.
When all the details fit in perfectly, something is probably wrong with the story.
Dan, I'm not a Republic serial villain. Do you seriously think I'd explain my master-stroke if there remained the slightest chance of you affecting its outcome? I did it thirty-five minutes ago.
I consider myself to be an inverse paranoid. I always operate as if everything is part of a universal plot to enhance my well-being.
I think action should be revealed through character, so if you have a plot problem, it's probably a character problem.
The so-called commercialism includes elements like story, plots, rhythms and large big scenes.
Through all the drama - whether damned or not - Love gilds the scene, and women guide the plot.
The Monkees was a straight sitcom, we used the same plots that were on the other situation comedies at the time. So the music wasn't threatening, we weren't threatening.
Objective truth itself is sometimes often seen as a right wing Republican-Christian plot to take over the government (though the rhetoric is cleverer than that, that's the bottom line).
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.
You compare yourself to somebody who you think is a peer, and you can totally lose the plot, and not understand that you are nothing like them in the first place, and it was never you versus anybody.
Characterization is not divorced from plot, not a coat of paint you slap on after the structure of events is already built. Rather characterization is inseparable from plot.
I've never sat down and thought about the difference between plot and theme. To me, that's never been important.
There are only so many plots in the world. It's how they unfold that makes them interesting.
The families of rabbits or woodchucks will eat the salad greens just before they are ready to be picked; I plot ways to kill these animals but can never bring myself to do it.
Plot, rules, nor even poetry, are not half so great beauties in tragedy or comedy as a just imitation of nature, of character, of the passions and their operations in diversified situations.
Every couple I know has side-by-side grave plots, but when we do it we're the biggest weirdos on the block.
I'm frustrated when I see movies in which I feel like the plot is being told to me instead of shown to me.
If I had a plot that was all set in advance, why would I want go through the agony of writing the novel? A novel is a kind of exploration and discovery, for me at any rate.
I try to trace the connection between the characters and that way a story or plot emerges.
Science fiction is an amazing literature: plot elements that you would think would be completely worn out by now keep changing into surprising new forms.
Oh! think what anxious moments pass between The birth of plots, and their last fatal periods, Oh! 'tis a dreadful interval of time, Filled up with horror all, and big with death!
I get fed up with plots that are driven by someone constantly getting information on a computer.
When we try to push the envelope, there are certain sectors of society that say this is a Zionist plot to sort of destabilize our country, or this is an American agenda.
It is possible to combine a story line and plot line in the same work. Usually the storylines comes first, serving as a background to the plot line, but not always.
Guy Rivers, a conventional piece as regards the love affair which makes a part of the plot, is a tale of deadly strife between the laws of Georgia and a fiendish bandit.
My key interest in choosing scripts is character-driven stories, because there are so many stories that sacrifice character for plot.
Normally you read a screenplay - and I read a lot of them - and the characters don't feel like people. They feel like plot devices or cliches or stereotypes.
What terrifies me? When I read about plots of evil taking over the world and obliterating women's hard-won rights.
I consider plot a necessary intrusion on what I really want to do, which is write snappy dialogue. But when I'm writing, the way the words sound is as important to me as what they mean.
It's very liberating for me to realize that I don't have to step up to the plate with a plot that involves the U.N. Security Council.
