History meets romance meets suspense! Compelling, original and wildly romantic, Beatriz Williams’ prose is stunning and the plot edge-of-your-seat gripping. OVERSEAS is an absolute triumph—I loved every page.
I think action should be revealed through character, so if you have a plot problem, it's probably a character problem.
I think situations are more important than plot and character.
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.
People see their own lives as stories; a lifelong story with a single hero or heroine... much contemporary unhappiness is due to the fact that people in high tech societies receive neither strong myths and stories from their culture nor the ability to construct their own... they lose the plot.
Authors of so-called 'literary' fiction insist that action, like plot, is vulgar and unworthy of a true artist. Don't pay any attention to misguided advice of that sort. If you do, you will very likely starve trying to live on your writing income. Besides, the only writers who survive the ages are those who understand the need for action in a novel.
This is the substance of our Plot-For those who play the Perfect Shot, There are ten thousand who do not.
Keith Richards outlived Jim Fixx, the runner and health-nut dude. The plot thickens.
Plot springs from character... I've always sort of believed that these people inside me- these characters- know who they are and what they're about and what happens, and they need me to help get it down on paper because they don't type.
As regards plot I find real life no help at all. Real life seems to have no plots. And as I think a plot desirable and almost necessary, I have this extra grudge against life.
What must novel dialogue . . . really be and do? It must be pointed, intentional, relevant. It must crystallize situation. It must express character. It must advance plot. During dialogue, the characters confront one another. The confrontation is in itself an occasion. Each one of these occasions, throughout the novel, is unique.
Life's generally artless ... but it does get these occasional hard-ons for plot. It connects things, nefariously, behind your back, and before you know it you're in the final act of a lousy movie.
Life compulsively dangled the possibility of life. Life, the dramatist on speed. Life, that couldn't stop with its foreshadows and ironies and symbols and clues, its wretched jokes and false endings and twists. Life with its hopeless addiction to plot.
This is love: You stop bothering about the universal, the general, get sucked instead into the local and particular: When will I see her again? What shall we do today? Do you like these shoes? Theory and reflection are delicate old uncles bustled out of the way by the boisterous nephews action and desire. Themes evaporate, only plot remains.
There's that lovely thing for the first month or two of writing a new book: OK, I don't know what that character's going to do, but we'll find out later. After about three or four months you come to that bit where you've got to put some plot in before it's too late, and you have to go back and start inserting plot, and, ooh, I've left out the literature, OK, lets put some in.
I thought why not write a kind of mystery, murder, thriller book, but use romance language where the language plays completely against the very dark subject matter, that very strange murderous plot, but use that Harlequin Romance language.
What initially attracted me to The Seventh Seal was that it had values and characteristics which I was familiar with in other art forms, most notably, the European novel and certain forms on English drama, and indeed, in relation to my rather academic interest in history -- not "history" in the normal sense, but history as a form of entertainment . It might be a very unfashionable view but I believe that history is an amazing bank or reserve area of plots, characterisations, extraordinary events, etc.
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
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.
I'm not really a plot writer - I'm more interested in the characters and sort of small events that propel the story forward.
The argument that the countries use for the sheer increase in Muslim doctors is the sheer increase in the Muslim population. In for example Birmingham, England where a lot of these guys came from, where one of these plots was hatched, it's up to 30% of the population. Maybe that's the problem?
For me, Modern Warfare 3 's plot makes its signature turn around the bend when Russia invades Europe. As in, all of it. Simultaneously. Now, I've never invaded Europe, except for that one time, but I would think that's a project you might want to stagger out a bit if you haven't forged an alliance with any galactic empires lately.
If you over-plot your book you strangle your characters. Your characters have to have enough freedom and life to be able to surprise you.
Any claim to actual identification as a drama must rest upon the construction of a plot independent of the assignment of affliction to the protagonist.
Plot is people. Human emotions and desires founded on the realities of life, working at cross purposes, getting hotter and fiercer as they strike against each other until finally there's an explosion-that's Plot.
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