Quotes of All Topics . Occasions . Authors
The way I pack is I look at how long I'll be gone and I pack day for day. If I'm going on a three-day fishing trip, I plot each day. I put most of that in a little bag. If I'm going from there to work on golf courses for a few days, I plot that trip.
I am greedy for both Hollywood and Bollywood. For me, Bollywood is not new, as it is something that I grow up on... I know the plot... stories and characters that are written and made. I haven't got the right opportunity to show my work in Bollywood.
I shy away from plot structure that depends on the characters behaving in ways that are going to eventually be explained by their childhood, or by some recent trauma or event. People are incredibly complicated. Who knows why they are the way they are?
You learn different things through fiction. Historians are always making a plot about how certain things came to happen. Whereas a novelist looks at tiny little things and builds up a sort of map, like a painting, so that you see the shapes of things.
For many years, I read mystery novels for relaxation. But my tastes were too narrow - and, having read all of Agatha Christie and John Dickson Carr, I discovered that the implausibility and the thinness of the people distracted me unduly from the plot.
Beating up on public schools is not just our nation's favorite blood sport, but also a favorite conversational entertainment of the well-off - like debating the most recent toothsome plot twists of 'Big Love' - who, of course, have no dog in the fight.
I love writing both fiction and memoir. Both have unique challenges; bottom line, fiction is hard because you have to come up with the credible, twisty plot, and memoir is hard because you have to say something true and profound, albeit in a funny way.
You asked what is the secret of a really good sketch. And it is a sketch is a small play. It's got a beginning, and a middle and an end. It should have a plot; it should have the characters, conflict. It is a little play. And in it, will be funny stuff.
I believe the most intricate plot won't matter much to readers if they don't care about the characters, especially in a series. So I try to focus hard on making each character, whether villain or hero, have an interesting flaw that readers can relate to.
I'm a stickler for structure. So I tend to make sure I'm hitting certain points in the script and that I'm progressing and moving things along. You know, are the characters keeping the plot moving along? And are they true, and do I know their motivations?
As for 'Great Expectations', it is up there for me with the world's greatest novels, not least as it vindicates plot as no other novel I can think of does, since what there is to find out is not coincidence or happenstance but the profoundest moral truth.
I enjoyed doing the gag covers better than the story ones because they were usually simpler. A cover based on an incident in the plot took a great deal of staging to tell a little story that was still part of the book. And it had to make sense on its own.
Part of the reason why so many actors lose the plot when they go over to America is that they become part of an industry, so that's why they don't want to play weak, bad or vulnerable guys - because that's not sellable; that diminishes their profit margin.
When you're watching a Hitchcock movie, you, for most of the movie, are playing the guessing game. What's the endgame? What's the plot? How are these people involved? It's the best way to tell the story, and as a viewer, that's what you want to experience.
I did a show called 'Lois & Clark' - it was about Superman - years ago. They wanted someone to play the president of the United States. The plot was the president got kidnapped by a group, and they made a clone of him, who was very irresponsible and silly.
I can tell you that as a writer and as a reader, I regard character as king. Or queen. No matter how riveting the action or interesting the plot twists, if I don't feel like I'm meeting someone who feels real, I'm not going to be compelled to read further.
I eat broccoli. I think about the plot. I pace in circles for hours, counter-clockwise, listening to music. I try to think of one detail in the scene I'm about to write that I'm really excited about writing. Until I can come up with that one detail, I pace.
I plot the par 5s back from the green and make my plan. If I can reach the green in two shots, I'm going to be aggressive off the tee. But if 's a three-shot hole, the goal changes. You want to put yourself in position to hit your favorite shot to the green.
Write a story a great writer would write. Because part of becoming an artist is pushing through all the disbelief of those around you, deciding that you are a writer when you have no idea what a plot is or whether what you've written is any good, or anything.
You keep waiting for the moral of your life to become obvious, but it never does. Work, work, work: No moral. No plot. No eureka! Just production schedules and days. You might as well be living inside a photocopier. Your lives are all they're ever going to be.
I hate SF books that think all you need to make a book is cool technology and mind-bending ideas without a decent plot or characters. And I hate when fantasy books are allowed to ramble off into five hundred page diatribes which don't advance the story one bit.
After preliminary research, I zero in on an idea, and then I spend at least four months exploring the topic and in plot-building. I jot down every single detail of the plot as bullet points per chapter, and only when the skeleton is complete do I start writing.
If you read a book that's fiction and you get caught in the characters and the plot, and swept away, really, by the fiction of it - by the non-reality - you sometimes wind up changing your reality as well. Often, when the last page is turned, it will haunt you.
We don't experience our lives as plots. If I asked you to tell me what your last week was like, you're not really gonna give me plot. You're gonna give me sort of linked narrative. And I wanted to see how do we bring that into fiction without losing the reader.
This is all thousands of years old. It's the same the world over. Anyone who has ever walked upright has loved beer, celebrated over it, told talks over it, hatched plots over it, courted over it. It's what we do as a species. It's what makes us human. We brew.
The initial attraction of a political convention was that often the outcome was not preordained. There was at least some element of surprise. But, now it's like tuning in to a movie where you already know the plot and the ending. It's just not that interesting.
I'm obviously very keen on the theater and I think it's inevitable that some of the orchestral and chamber pieces have got dramatic elements which might even suggest an unspecified dramatic plot of some kind or other, even though it's not in my mind at the time.
I believe that if the story is fleshed out and the characters more believable, the reader is more likely to take the journey with them. In addition, the plot can be more complex. My characters are very real to me, and I want each of my characters to be different.
I did the X-Men, and I plotted the stories, and Roy Thomas dialogued them. And that first set of comic books that I did are the plot that the first X-Men movie was taken from, where Magneto invents a machine that turns regular humans into mutants. That's my idea.
Cynicism doesn't have its way in series finales. My emotional desire when I watch a series come to an end is to be crying and laughing and cheering as the final credits roll, feeling like I just got delivered the happy ending, whether the plot ends happily or not.
There's a lot of two-hander dialogue in 'True Detective,' and I needed to place those guys in locations where there were other levels of visual storytelling. It didn't necessarily have to move the plot forward, but it had to add tone or add to the overall feeling.
I always try to tell a good story, one with a compelling plot that will keep the pages turning. That is my first and primary goal. Sometimes I can tackle an issue-homelessness, tobacco litigation, insurance fraud, the death penalty-and wrap a good story around it.
I think screenwriting gave me more of an affinity for plot - my first novel, 'Me and Earl and the Dying Girl,' doesn't have a very sophisticated roadmap. But screenwriting required me to learn a higher level of plottiness, and I tried to bring that to 'The Haters.'
The writer must face the fact that ordinary lives are what most people live most of the time, and that the novel as a narration of the fantastic and the adventurous is really an escapist plot; that aesthetically, the ordinary, the banal, is what you must deal with.
Imgur is a data-driven company, and our community is our most important signal. But you can't perfectly plot humans neatly into a chart. It takes someone with instincts and empathy to truly understand the community and represent them in all of the company decisions.
Once you engage with the simple enough business of feeding yourself, of soil and water, weather, season and harvest, it becomes personal. It is about you, your family and friends. Food becomes an aspect of those relationships as well as your intimacy with your plot.
I steer clear of books with ugly covers. And ones that are touted as 'sweeping,'_ 'tender' or 'universal.' But to the real question of what's inside: I avoid books that seem to conservatively follow stale formulas. I don't read for plot, a story 'about' this or that.
I feel like having details from their day and having a plot and action and things to do is much more revealing than having a character sitting and thinking to themselves. When I'm writing, I want people to actually have a goal, something that's dragging them forward.
I start with an image, then I go from the image toward exploring the situation. Then I write a scene, and from the scene I find the character, from the character I find the larger plot. It's like deductive reasoning - I start with the smaller stuff and work backward.
Finishing something is the hardest part. You know it's not as good as you hoped. You know there are plot problems. You know that by finishing it, you're saying - even if only to yourself - 'This is the best I can do.' And because it's not perfect, that's really hard.
There are those who maintain that in this world women have no right to interfere in the affairs of state, in politics, in plots and counter-plots. Others that are who, more chivalrous, are willing to admit that women have as much right to act, think, and speak as men.
Each time I'm starting to work on a film, even if I love to settle the plot in the real world, I start to think about the plot as a fairy tale, or a dream, or a nightmare... As if it was the best way to tell the truth about characters or narration, instead of realism.
I start writing with only the vaguest idea about who my characters are and what is going to happen, and the characters and plot come into existence as I go. I've tried doing it the other way, but for me, outlining is a waste of time because I never follow the outline.
The story of 'A Dog's Purpose' flowed into me a set piece. The entire book was just there, as if I were connected to a streaming service, a novel wholly formed of character and plot. This has never happened to me before or since. I prayed for help and I got it. A gift.
For all of its well-deserved reputation for pragmatism, American popular culture frequently nurtures or at least tolerates preposterous views and theories. Witness the 9/11 'truthers' who, lacking any evidence whatsoever, claim that 9/11 was a Bush administration plot.
But how can the characters in a play guess the plot? We are not the playwright, we are not the producer, we are not even the audience. We are on the stage. To play well the scenes in which we are "on" concerns us much more than to guess about the scenes that follow it.
We began to do little things, have little scenes where we just talked about things that had nothing to do with the plot. In fact, in the beginning, they didn't want us to do that. But as time went on, you see that in so many shows. I think we were the first to do that.
I started as a playwright. Any sort of scriptwriting you do helps you hone your story. You have the same demands of creating a plot, developing relatable characters and keeping your audience invested in your story. My books are basically structured like three-act plays.
Some of the first infographics I did started off as notes to myself: trying to plot out, for instance, how IP addresses are allocated. After a while, I thought, 'This is a neat thing I can share with people, and they can follow me along in that process of understanding.'
I think my favorite film of all time has to be 'The Illusionist' by Sylvain Chomet. Beautiful plot, beautiful story. You know, not much happens, but it's beautiful. And when I was young, 'The Triplets of Belleville' was one of my favorite movies. I liked his style a lot.