Quotes of All Topics . Occasions . Authors
In discussing the process with the actors, I made it clear to them that they could improvise but that the sum total of their improvisation needed to impart certain plot points, and schematic material.
That's the way life is: meaning is always there, but there is no clearly given way of decoding it. Conventional cinema obscures this with an easy reduction of meaning to plot and schematic characters.
When I work on a movie, I look at the script or watch the film, and I talk to my director or producers and make a plan: this is our main character; we need a theme for this plot. We need a love theme.
Story and plot, not historical facts, are the engine of a novel, but I was committed to working through the grain of actual history and coming to something, an overall effect, which approximated truth.
As much as most of the actors were kind of curious to know what their character meant in relation to the script and to the plot, they really were quite happy to be part of the adventure of not knowing.
It's one of the most liberating things I experience in writing - letting yourself get rid of a gesture or character or plot point that always nagged, even if you couldn't admit to yourself that it did.
I think, when I was younger, I believed in - and yearned for - conventional beauty. I thought there was a spectrum from ugly to beautiful, and that you could objectively plot everyone you saw along it.
The most challenging and exciting aspect is the outline and formation of the plot points. This is the stage where the notion of the story begins to take shape, and I can see glimpses of what is to come.
I'm quite adept at writing two or sometimes even three stories at once. So if I get stuck on one story, I switch the next and let my subconscious work on unraveling any plot problems from another story.
Characters are incredibly important, but I tend to build them around the plot during the outline stage. However, once I'm writing the manuscript, the characters I'm writing dictate how the plot unfolds.
Maybe it's the spy novelist in me looking for a future plot, but I hope the U.S. and its allies are thinking how to operate 'unconventionally' in Iraq and Syria in ways that undermine the Islamic State.
When you get right down to it, there's something uniquely satisfying in being gripped by a great plot, in begrudging whatever real-world obligations might prevent you from finding out what happens next.
The whole saas-bahu drama is very cliched. I feel there's already too much of that on TV. So I was waiting for something like 'Kuch Rang Pyar Ke Aise Bhi.' The show offered a fresh and interesting plot.
Sometimes, I have themes that interest me or that touch on larger issues but, really, I'm just trying to figure out the plot, or how the characters work. I'm trying to make the best story I possibly can.
The time has mainly gone on getting Inform into a decent shape for public use. I suppose the plot of 'Curses' makes a sequel conceivable when compared with, say, the plot of 'Hamlet' but none is planned.
I want my mom on 'Scream Queens'. She could play someone who is convinced she's Princess Leila. That could be her disease, and then as a plot twist, we could find out that she actually is Princess Leila.
But it isn’t a rough draft either. The one I turned in several months ago was rough. There were some bad plot holes, some logical inconsistencies, pacing problems, and not nearly enough lesbian unicorns.
I start with a beat sheet, which is more of an abbreviated outline. It hits all the major plot points. From there, I move to note cards. But the most important part of my process is my inspiration board.
I like being able to go to the cinema and sit and spend time observing something without thinking about plot or what one character is saying. I feel like I'm able to connect on a much more profound level.
I am a firm believer that a good plot makes for a fun enough read, but it's not what binds us. If we don't care about the characters, we won't care - not in a lasting way - about what's happening to them.
So somehow, things that seem extraneous to the play in reality are not. The scene lasts 37 minutes, and you only need 12 minutes of that for the plot. But if you pull the rest of it out, it's not my play.
I better make the plot good. I wanted to make it grip people on the first page and have a big turning point in the middle, as there is, and construct the whole thing like a bit of a roller coaster ride...
If something is crucial to the plot, then I'd better be sure I've got my facts straight. Readers of crime novels are smart and savvy, and they'll waste no time letting me know if there's a hole in my plot.
I was a theater actor back in the U.K., and you knew the whole play, so you could plot your storyline and character. And then I did 'Lost' and didn't know, and it was kind of frustrating, but I enjoyed it.
Considerations of plot do a great deal of heavy lifting when it comes to long-form narrative - readers will overlook the most ham-fisted prose if only a writer can make them long to know what happens next.
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.
But I'm a fairly mechanical worker - I tend not to think about themes so much as plot. I want to get the feeling right. If it's moving through tunnels, I ask myself, what is it like to move through tunnels?
Maybe I should have taken a few chances. That's not to say I want to go make 'Star Wars', but I need to shift my career into the studio world. That's where my head was at when I thought of the original plot.
Sitcom writing is difficult because it's not just about writing jokes - there's a very fine balance between characters, plot, and comedy, that if you get one thing wrong, the whole castle comes falling down.
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.
One of the issues with the fight scene - especially with actors - is that when the adrenaline gets going you lose the plot. Before you know it, you've hit somebody and you've hit them harder than you meant to.
The biggest lesson learned from 'X-Men: The Last Stand' or 'X3' was that if you are going to tell a Phoenix story, tell the Phoenix story. Don't make it the subplot of the movie. Make it the plot of the movie.
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.
I have a book coming out in September, for example, where the plot concerns counterfeiting, and I had to do a lot of research on that. Or on any legal matters, for example, I have to do a lot of research online.
Morality for the novelist is expressed not so much in the choice of subject matter as in the plot of the narrative, which is perhaps why in our morally bewildered time novelists have often been timid about plot.
I find inspiration in many places. Sometimes music gives me the kernel of a story. Sometimes it's dissatisfaction with the plot of a movie or a book that gets me thinking. Sometimes it's love of a movie or book.
I'm certainly a plot and character man. Themes, structure, style - they're valid components of a novel and you can't complete the book without them. But I think what propels me as a reader is plot and character.
The writer asks himself, 'Can I think of a plot that will parallel this? Can I take this work of literature as an example of something I might produce?' Let us, then, consider literature as a productive science.
'Rozabal' was theological while 'Chanakya' is political. Unlike 'Rozabal,' which was about research, the aim of 'Chanakya' is plot, plot, plot, which carries the character. The common DNA, of course, is history.
When we submit our lives to what we read in scripture, we find that we are not being led to see God in our stories but our stories in God's. God is the larger context and plot in which our stories find themselves.
Once you have invented a character with three dimensions and a voice, you begin to realize that some of the things you'd like him to do to further your plot are things that such a person wouldn't, or couldn't, do.
Crime fiction makes money. It may be harder for writers to get published, but crime is doing better than most of what we like to call CanLit. It's elementary, plot-driven, character-rich story-telling at its best.
Even if I never sold another book, I'd keep writing, because the stories are here, in my head. Stories that just need to be told. I love watching a plot unfold, and feeling the surprise when the unexpected happens.
We must clearly see that international hostile forces are intensifying the strategic plot of Westernizing and dividing China, and ideological and cultural fields are the focal areas of their long-term infiltration.
I never map things out in advance. It would be better if I did and more economical in terms of time, but I've found that if you work out a plot line from beginning to end, at the beginning it becomes very rational.
If you are heartbroken and can't face the world, you need something with a fantastic plot. You won't be able to read anything boring because your attention span when you are heartbroken decreases by three-quarters.
The thing about Moby Dick is that, at heart, it's a very simple plot - there's only one white whale in the ocean. When you're a boy growing up in a hostile home, you imagine it's unique: it's happening only to you.
Rashly, And praised be rashness for it--let us know, Our indiscretion sometime serves us well When our deep plots do pall, and that should learn us There's a divinity that shapes our ends, Rough-hew them how we will
I never make notes; just a few small details when I'm writing, but nothing much. The plot is never written down. I will tell the story to myself, but I won't plan it. I'll speak the narrative in my head for a while.