When I would create a dance, I wouldn't have the luxury that ballet people do when they take a piece of music and impose a dance upon it. What we did in motion pictures was have a song and within that song try to elaborate. My usual method was to do what a writer does: get a plot.
Since a photograph is frozen and mute, since there is no before and after, I don't want there to be a conscious awareness of any kind of literal narrative. And that's why I really try not to pump up motivation or plot or anything like that.
We like to make sure there is a plot at the center of it and that you care about the people but to poke fun of little things, like the toast restaurant in the pilot.
When in doubt, the rule of threes is a rule that plays well with all of storytelling. When describing a thing? No more than three details. A character's arc? Three beats. A story? Three acts. An act? Three sequences. A plot point culminating in a mystery of a twist? At least three mentions throughout the tale. This is an old rule, and a good one. It's not universal - but it's a good place to start.
The history of the world for the past several centuries and current events at home and abroad confirm the existence of such a conspiracy (to destroy Christianity and obtain global power). The world-wide net-work of diabolical conspirators implements this plot against the Christian faith while Christians appear to be sound asleep. The Christian clergy appear to be more ignorant or more indifferent about this conspiracy than other Christians ... It seems so sad.
Even if the experience in my stories is not autobiographical and the actual plot is not autobiographical, the emotion is always somewhat autobiographical. I think there's some of me in every one of the stories.
Discovered W. Somerset Maugham in about 5th grade. Didn't understand the plots, but loved the descriptions.
I started natural farming after the war with just one small plot, but gradually I acquired additional acreage by taking over surrounding pieces of abandoned land and caring for them by hand.
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.
We are now at a point where because we in fact have been successful at stopping a number of plots, a threat has evolved. We do see these lone-wolf actors. We do see these encouragements for troubled individuals to pick up a gun and act out of this ideology.
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.
It's hard to write a good play because it's hard to structure a plot. If you can think of it off the top of your head, so can the audience.
I'm a relatively disciplined writer who composes the whole book before beginning to execute and write it. Of course, you can't hold - you cannot imagine a whole novel before you write it; there are limits to human memory and imagination. Lots of things come to your mind as you write a book, but again, I make a plan, chapter, know the plot.
I explained to Amazon that I don't like outlining or projecting what something's going to be. I like to allow a story to arise as I'm writing scripts. I find it horrible when I try to think of something for the plot without really being on the ground and seeing where it goes. I was really resistant to do the mini-bible. So I gave them something, but I really didn't want to do it that way.
I was born in the era of the novel. I've written many, as well as collections of poetry, and essays for mouthing off. I've written to inches, word-counts, page-counts, even the sonnet and the screenplay (which I call a plot poem). I write narrative. That's it. I just want to tell it.
The poem has to bear the weight with image, language... the screenplay with dialogue, plot.
I try not to divide plot and character. I get to know a character by what they want and fear and how those internal forces play out in their lives.
It takes work to plot a course that is both thrilling and truthful, but it's worth it.
I'm probably more character-driven than plot-driven. It's rare for me to attach myself to an idea for a story.
I start with an image, then I go from the image toward exploring the situation. Then I write a scene, and from the scene I find the character, from the character I find the larger plot. It's like deductive reasoning - I start with the smaller stuff and work backward.
I was selling a piece of my art on eBay from The Escapist, which was an adaptation of The Adventures of Kavalier and Clay, and the person who bought it was Alan Heinberg, one of the executive producers of the show and was a huge fan of my work and asked if I'd be interested in maybe being the ghost artist for Seth. It clicked and I could relate to Seth's plight on the show. It became really easy to fill in his shoes, and people really grabbed onto it; they really dug that sort of very minor sub-plot in the show.
We get to get into the nitty-gritty and the minutiae of the way they relate now, and that's really valuable. We just have to make sure we don't repeat ourselves and we plot this thing so it doesn't dead end too much, and so that's the challenge really. It's like, how do you keep those balls in the air and make it exciting still?
We actually needed the memory - if you see the film - as a very different kind of a plot device of revealing some information to our main character. So we chose to represent it as these sort of beautiful little snow globes, which kind of, weirdly, that's the way we think of memories - at least, most of the folks that we talked to. You think of these memories as being very pure and absolute and unchanging. That's not actually real life.
I like fast plots with things that explode.
Over 80% of the poor are people who have small plots of land and grow their own food and they don't grow enough to sell much into the marketplace. So they will be hit hard by the worst in climate. They really get hit hard starting in the 20-year time frame and thereafter.
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