There is no vengeance as terrible as the vengeance a coward plots in the dark of his heart.
Dialogue is character and character is plot.
The guilty is he who meditates a crime; the punishment is his who lays the plot.
I just focus on getting the first scene right, with a few lines about the overall plot, and then the book grows organically.
Creating the characters is the most creative part of the novel except for the language itself. There I am, sitting in front of my computer in right-brain mode, typing the things that come to mind - which become the seeds of plot. It's scary, though, because I always wonder: Is it going to be there this time?
A plot begins when somebody has something to hide.
The only way I could finish a book and get a plot was just to keep making it longer until something happens.
There is only one plot-things are not what they seem.
My writing has always been what you call 'narrative fiction' in the sense that it's got very strong plots and twists at the end.
Ugh! How many stories about love, copulation, marriage and death already exist, not one of which tells the truth! How sick I am of well-constructed plots and brilliant writing!
The name of the author is the first to go followed obediently by the title, the plot, the heartbreaking conclusion, the entire novel which suddenly becomes one you have never read, never even heard of, as if, one by one, the memories you used to harbor decided to retire to the southern hemisphere of the brain, to a little fishing village where there are no phones.
Sometimes my plot lines are so convoluted, I get calls from friends at 3 am saying; you SOB, you'll never pull this one off.
A plot is two dogs and one bone.
Sometimes you can have a great scene but it just doesn't need to be in the movie. If it's not progressing the plot, not progressing the story, not adding to the momentum, or if it's not purposefully serving a breath - it has got to go.
plot is character in action.
I believe in plot, in development of character, in the effect of the passage of time, in a good story - better than something you might find in the newspaper. And I believe a novel should be as complicated and involved as you're capable of making it.
Television is a constant stream of fact, opinions, lies, moral dilemmas, plots: an infinitely complex and sophisticated torrent of information. How could it not make you cleverer? The only people who ever thought television rotted the brain and made kids dumb were those with a vested interest in other ways of learning, or those who were intellectually insecure, usually about books.
I think of a plot, I think of an idea, and then I wonder, How can I get that onto the stage? . . . Whatever devices you use should always be there to serve the theme. If the theme has been overtaken by the device, then something's wrong.
I begin by assembling notes on characters. Large swaths of the plot become clear to me as I do this.
My favorite films are the ones that I walk away from and I know I saw a story. I saw the core part of the plot. But if I ever take another look at it then I can see that there was some more stuff going on in there that I didn't realize.
Events, time, forms, all propel the inner plot within each of us.
Character, I think, is the single most important thing in fiction. You might read a book once for its interesting plot—but not twice.
That is what I define as a novel: something that has a beginning, a middle and an end, with characters and a plot that sustain interest from the first sentence to the last. But that is not what I do at all.
Plot, or evolution, is life responding to environment; and not only is this response always in terms of conflict, but the really great struggle, the epic struggle of creation, is the inner fight of the individual whereby the soul builds up character.
In every well-written play the battle rages between the primary powers of Good and Evil, and it is this battle which constitutes the life impulse of the play, its driving force, and is basic to all plot structures...In any true piece of art...the beginning and the end are, or should be, polar in principle. All the main qualities of the first section should transform themselves into their opposites in the last section.
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