I plot my ascent daily.
The era of television in which I grew up was much simpler than now. Its conventions were quite transparent and fun to think about. Who could ever remember the plot of those shows?
In the theater, you're so much more in charge as an actor. For better or for worse, you know what the audience is seeing. But you can be acting your socks off on film, and then you see the movie, and the camera is on the other actor, or they've cut out the lines you thought were significant, or they've adjusted the plot. So much of it is out of your control.
Attention spans are changing. It's very noticeable. I am very aware that the kind of books I read in my childhood kids now won't be able to read. I was reading Kipling and PG Wodehouse and Shakespeare at the age of 11. The kind of description and detail I read I would not put in my books. I don't know how much you can fight that because you want children to read. So I pack in excitement and plot and illustrations and have a cliffhanger every chapter. Charles Dickens was doing cliffhangers way back when. But even with all the excitement you have to make children care about the characters.
My sister and brother are both writers as well. We are constantly discussing story and plot lines. And I love to discuss story ideas with my husband.
That’s the problem with fiction — or the charm, if you want. Even mediocre plots have a way of sinking their hooks into you, until you find yourself concerned for the fates of characters who aren’t even fully convincing.
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?'
Unlike most wars, which make rotten fiction in themselves - all plot and no characters, or made-up characters - Vietnam seems to be the perfect mix: the characters make the war, and the war unmakes the characters. The gods, fates, furies had a relatively small hand in it. The mess was man-made, a synthetic, by think tank out of briefing session.
As for 'story' I never yet did enjoy a novel or play in which someone didn't tell me afterward that there was something wrong with the story, so that's going to be no drawback as far as I'm concerned. "Good Lord, why am I so bored" "I know; it must be the plot developing harmoniously." So I often reply to myself, and there rises before me my special nightmare that of the writer as craftsman, natty and deft.
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.
From plots and treasons Heaven preserve my years, But save me most from my petitioners. Unsatiate as the barren womb or grave; God cannot grant so much as they can crave.
Fine wits destroy themselves with their own plots, in meddling with great affairs of state.
A dream inspiring a story is different than placing a description of a dream in a story. When you describe a character's dream, it has to be sharper than reality in some way, and more meaningful. It has to somehow speak to plot, character, and all the rest. If you're writing something fantastical, it can be a really deadly choice because your story already has elements that can seem dreamlike.
Even a dream as inspiration doesn't mean anything unless you then find that it's sparked an actual story with a plot.
Now, once again, we find ourselves facing rising gas prices, and the question is: This time, are we going to learn from the past? Are we finally going to get serious about energy conservation? Of course not! We have the brains of mealworms! So we need to get more oil somehow. As far as I can figure, there's only one practical way to do this. That's right: We need to clone more dinosaurs. We have the technology, as was shown in two blockbuster scientific movies, Jurassic Park and Jurassic Park Returns with Exactly the Same Plot. Once we have the dinosaurs, all we need is an asteroid.
There's that old adage about how there's only seven plots in the world and Shakespeare's done them all before.
In comedy, the witty style wins out over every mishap of the plot.
I'd like to work with some of the videogame companies for the simple fact that they obviously need some sort of writer's help. I play videogames, and lately it's hard for me to enjoy them because I'm spending all my time cringing at the corny dialogue, thin characters, and glaring plot holes.
Also, worldbuilding touches all aspects of your story. It touches plot and character as well. If you don't know the culture your character comes from, how can you know what he's really like? You must know your characters on a much deeper level than you would if you just shrugged your way into a cookie cutter fantasy world.
Sometimes I feel that the world is made up of sensible people who know the plot and bloody idiots who don't.
I get a lot of inspiration from Japanese manga, especially shoujo which tends to have elaborate and fantastical adventure plots.
I don't usually read my reviews. I've noticed older reviewers are much more bothered by the plot complications. Younger reviews don't seem to be bothered by the complications at all.
I want the plot to be as complicated as possible. Usually I'll write all the way through to an end, and then I go back and try to fix the ending so that it makes sense. I don't think out the plot ahead of time.
I obviously read and adore traditional fiction. I teach traditional fiction, I also teach all kind of not-so-traditional fiction. And since I'm such a plot buff, and I'm really such a narrative buff, I can't seem to relinquish my - not just reliance - but excitement about those traditional techniques.
With non-fiction writing I feel like I'm confined and driven by what actually happened. That makes the "plot". So it's a process of getting all of my notes typed up, then scanning through the notes, trying to extract or find certain vignettes that seem like they might write well - that might have a potential for good energy, shape, etc. And then at some point I start stringing these together, keeping an eye on the word count.
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