You can't remember the plot of the Dr Who movie because it didn't have one, just a lot of plot holes strung together. It did have a lot of flashing lights, though.
You can't build a plot out of jokes. You need tragic relief. And you need to let people know that when a lot of frightened people are running around with edged weaponry, there are deaths. Stupid deaths, usually. I'm not writing 'The A-Team' - if there's a fight going on, people will get hurt. Not letting this happen would be a betrayal.
Every time I read anything, whether it be a book, a script, or anything, I automatically imagine myself as the boy in the plot. I don't know why. Seriously, anything. If I'm reading a magazine article or whatever, I picture myself as the kid people are talking about. It's really weird. I don't know why I do that.
I like the plot of The Nutcracker - not at all.
You can't have a movie with a group of people that are significant players in the story, that push forward the plot, without introducing at least one or two of them.
I have a plot, but not much happens.
I was lucky because logarithmic plots are a device of the devil.
I get fed up with plots that are driven by someone constantly getting information on a computer.
Plots and character don't make life. Life is here and now, anytime you say the word, anytime you let her rip.
Mockumentary formats are great for a couple of things. One of them is delivering the toughest part of any sitcom episode, what writers call "pipe" - the nuts and bolts of the story where you explain what's happening, the boring plot stuff.
The most important thing in the job is to make movies about women where they are characters that have consequences in the story. They can be villains, they can be protagonists, I don't care but their movements, their actions what they do in the plot has to actually matter.
The whole idea of Mass Effect3 is resolving all of the biggest questions, about the Protheons and the Reapers, and being in the driver's seat to end the galaxy and all of these big plot lines, to decide what civilizations are going to live or die: All of these things are answered in Mass Effect 3.
Listen, in dreams and especially in nightmares, from indigestion or anything, a man sees sometimes such artistic visions, such complex and real actuality, such events, even a whole world of events, woven into such a plot, with such unexpected details from the most exalted matters to the last button on a cuff, as I swear Leo Tolstoy has never invented.
He who wants to keep his garden tidy doesn't reserve a plot for weeds.
The best laid plot can injure its maker, and often a man's perfidy will rebound on himself.
I think people try to jam a lot of artificial plot devices into a lot of romantic comedies, and they don't treat it with the respect I believe it deserves.
You learn to do your best writing on story rather than off story. Very often at the beginning of their careers, writers including me do their best dialogue writing off story - the best lines, the best observations - but they haven't got enough to do with the plot to stay in.
My husband makes fun of me, because I know I can use strong prose to jazz-hand my way through plot that isn't as interesting as I'd like it to be.
I believe the only way a writer can keep himself up to the mark is by examining each story quite coldly before he starts writing it and asking himself if it is all right as a story. I mean, once you go saying to yourself, 'This is a pretty weak plot as it stands, but I'm such a hell of a writer that my magic touch will make it okay,' you're sunk. If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them.
I always have a basic plot outline, but I like to leave some things to be decided while I write.
Writing is truly a creative art - putting word to a blank piece of paper and ending up with a full-fledged story rife with character and plot.
Modernism has a reputation for being a forbidding phenomenon: its visual arts disconcertingly non-representational, its literary efforts devoid of the consolations of plot and character - even its films, it's argued, fall well short of that true desideratum: entertainment.
My dad was a breeder. Most of his work happened in little test plots and didn't require much labor. He tried growing them for a while, and realized that farming is hard. It's just brutally hard. We didn't have the interest or fortitude to farm.
I do try to plot about a chapter ahead once I get going. I have a list of upcoming scenes with little notes about them. But sometimes the story changes and I don't end up following that.
I usually have Kafka biography in my bathroom. It's a book I can open at random and feel interested in immediately. It's really funny. With this book, since I'm opening it at random and immediately interested, I don't feel the need to read more than I want to read, in that there's not, like, a plot that leads me along. So I can stop whenever.
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