Quotes of All Topics . Occasions . Authors
The world of fiction is a sovereign world that comes to life in the author's head and follows the rules of art, of literature. And that is the major difference that is reflected in the form of the work, in its language and its plot. An author invents every aspect of a fiction, every detail.
Any plot you impose on your characters will be onomatopoetic: PLOT. I say don't worry about plot. Worry about the characters. Let what they say or do reveal who they are, and be involved in their lives, and keep asking yourself, Now what happens? The development of relationship creates plot.
I don't want to be Batman. Let Val Kilmer do it. I just want to be Uncle Batman. I have this whole 'warm relationship' plot in my mind. In the final scenes, the new Batmobile breaks down, the new Batman's stranded on the side of the road. We grab our old Batmobile, pick him up and drive away.
My major contribution to the format was to suggest that I be able to step out of the plot and speak directly to the audience, and then be able to go right back into the action. That was an original idea of mine; I know it was because I originally stole it from Thornton Wilder's play Our Town.
When I started 'Still Missing,' I had a few key plot points in mind, which I played around with mentally for a couple of months, then one day I just started writing. Not having an outline led to some cool plot twists, but also many rewrites! A lot of the plotting happened on subsequent drafts.
You can only see 'Star Wars' for the first time once, and people are watching it again and again and again, and it's a testament to the strength beyond the plot twists that it has. The narrative strength that it has is that it can be enjoyed even though you know the biggest plot elements in it.
Stripped of its plot, the 'Iliad' is a scattering of names and biographies of ordinary soldiers: men who trip over their shields, lose their courage or miss their wives. In addition to these, there is a cast of anonymous people: the farmers, walkers, mothers, neighbours who inhabit its similes.
Plot is a framework on which to drape other things. So once that's working, I can just let it go and do all the stuff that I love - 'Trojan horse' it. There are so many great YA heroines, and that's fantastic, but what about the emotionally complex boy out there? That's who I tend to write about.
When I hit a block, regardless of what I am writing, what the subject matter is, or what's going on in the plot, I go back and I read Pablo Neruda's poetry. I don't actually speak Spanish, so I read it translation. But I always go back to Neruda. I don't know why, but it calms me, calms my brain.
Giving consumers the choice of having it all in one big bite means different viewers are in many different places in the book, making it hard to discuss without spoiling the plot. The intervals between first-run programming provide a space for communion and that tantalizing sense of anticipation.
The NSA is not listening to anyone's phone calls. They're not reading any Americans' e-mails. They're collecting simply the data that your phone company already has, and which you don't have a reasonable expectation of privacy, so they can search that data quickly in the event of a terrorist plot.
I think too often in films, people think endings are a summation of plot, and I don't like that. Because once you know where you're going as an audience member, then it's like a video game. You're just waiting for them to get through the levels and beat the bad guy. And I just think that's boring.
I think the further away you get from completing a book, the more responses you see to it from readers, the more your own tastes and opinions shift and the more you start to see things you could have written differently in the detail, or done differently on the broader scale of plot and character.
I wrote four novels under the name Amy Silver. The first one was commissioned, and I was given basically the whole plot and the characters. They told me what to do, and I went straight away and did it. After that, I continued, and I was coming up with more my own ideas, although they did steer me.
Marriage seemed like such a small space whenever I was in it. I liked the getting married. Courtship has a plotline. But there's no plot to being married. Just the same things over and over again. Same fights, same friends, same things you do on a Saturday. The repetition would start to get to me.
Plot is just not my gift. I'm fascinated with complex characters, and that doesn't mix well with complex plots. And by the way, when the plot is simple, you can move one piece around and make it feel fresh. Hell or High Water's a good example: I don't tell you why the brothers are robbing the bank.
First comes an idea. Then, characters begin to evolve out of the landscape of that idea. And then, finally, characters dominate: plot is simply a function of what these people might do or be. Everything has to flow from their personalities; otherwise it will not be emotionally engaging, or plausible.
The craft of writing is all the stuff that you can learn through school; go to workshops and read books. Learn characterization, plot and dialogue and pacing and word choice and point of view. Then there's also the art of it which is sort of the unknown, the inspiration, the stuff that is noncerebral.
When you reach the editing stage, it is often the case that you can get too involved with the story to detect errors. You can see words in your head that aren't actually there on the page, sentences blur together and errors escape you, and you follow plot threads and see only the images in your skull.
The core plot of 'Mercury' is so gripping that when I thought of making it as a silent film, it only made it more interesting. Once I finished writing the first draft, making a silent film that's both thrilling and engaging seemed possible. When the film team read the final script, they felt the same.
Most of the people who were responsible for 9/11 are now in custody or have been killed. But there are others, and they plot and they plan, and they hope to pull it off again. And while we have to be right 100 percent of the time, they only have to be right once. So there's no way to overreact to that.
In a very literal way, of course, Shakespeare did change the course of history: when it didn't fit the plot he had in mind, he simply rewrote it. His English histories play fast and loose with chronology and fact to achieve the desired dramatic effect, re-ordering history even as it was then understood.
Basic Instinct 2' is an uneasy experience because, although it is hyper-reflexive to the point where it is hard to think of one character, one scene, one plot twist that isn't a reference or an echo, there is nothing knowing about it. No matter how absurd the film gets, it refuses to raise its eyebrows.
Shakespeare, who never could think up a plot by himself, found this one [Macbeth] in Holinshed's Chronicles, changing it just enough so that no one would recognize the source. He didn't count on the resourcefulness of modern scholars, who have to discover things like this to become associate professors.
Coherence and closure are deep human desires that are presently unfashionable. But they are always both frightening and enchantingly desirable. "Falling in love," characteristically, combs the appearances of the word, and of the particular lover's history, out of a random tangle and into a coherent plot.
The fiction writer has a lot of balls to juggle. Setting, pacing, dialogue, and so on. And let's not forget: plot. That was always a hard one for me. And I always had this spastic tendency to wrap up a story before I'd seen it the whole way through, a sort of writer's pre-ejaculatory tendency: "The End!"
The 9/11 attack itself played out around the world, with planning meetings in Malaysia, operatives taking flight lessons in the United States, coordination by plot leaders based in Hamburg, and money transfers from Dubai - activities overseen by al-Qaeda's senior command from secure bases in Afghanistan.
The best calculation is the absence of calculation. Once you have attained a certain level of recognition, others generally figure that when you do something, it's for an intelligent reason. So it's really foolish to plot out your movements too carefully in advance. You're better off acting capriciously.
I've never really found inspiration for story ideas in the news, but I'd say it certainly affects our lives in so many ways. I would say that certainly the stories of the day appear in the work - I just have never gone so far as to say, well, this particular event could influence a plot of an entire book.
Mammootty came on board unexpectedly. 'Uncle,' which I am co-producing with Sajai Sebastian, was meant to be a low-budget film and we had almost cast another actor in the titular role. But, during the shoot of 'Puthan Panam,' I narrated the film's plot to Mammootty, who liked it and wanted to do the movie.
I always feel funny when I don't reveal things, especially to you [the press], who have supported us so much and are really the big reason we're here. But, we hold back information about the plot because we want to reward the fans for sticking with us, and that's so much fun. That's the funnest part of it.
In terms of the breadth of the threat of Al Qaeda itself - it's not the only terrorist organization, and it works with others as cells around the world in at least 60 countries. You potentially are talking about tens of thousands of followers who can be conscripted into service to carry out a terrorist plot.
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?
I wrote a book called 'Doll Bones', which was another middle-grade book, and when I was writing it, I needed a place in the U.S. that made bone china. And there are only two places in the U.S. that make bone china. They made it by grinding down actual cow bones. It was a plot point. It was a creepy doll book.
As someone who is non-binary gender identifying, I feel a particular responsibility to portray members of my community on stage and on screen, not only as fully fleshed-out characters who are integral to the plot, but as characters whose gender identity is just one of many parts that make up the whole person.
The dominant metaphor of conceptual relativism, that of differing points of view, seems to betray an underlying paradox. Differentpoints of view make sense, but only if there is a common co-ordinate system on which to plot them; yet the existence of a common system belies the claim of dramatic incomparability.
In 2008, while the film version of my book 'Choke' was coming to market, my mother was diagnosed with lung cancer. That meant that I had to appear in public to promote a comedy about a son trying to save his dying mother - the plot of Choke - while privately I was caring for my own dying mother. It was torture.
Part of the mystique of shows like 'Curb Your Enthusiasm' is the idea that they begin with a couple of plot lines, and then a bunch of geniuses improvise dialogue. It's not quite that unstructured and loose. It makes for a good urban myth, but everything's a little more tightly scripted and programmed than that.
I don't know how to write a novel in the world of cellphones. I don't know how to write a novel in the world of Google, in which all factual information is available to all characters. So I have to stand on my head to contrive a plot in which the characters lose their cellphone and are separated from technology.
Writers often like to talk about how intuitive the writing process is, but in truth, building a book is a remarkably unintuitive task. Or, to put it more accurately, you need a lot more than intuition. You need plot and characters. You need a setting. You need a theme that is relevant and supported by your text.
I actually hope people don't react to 'Impossible' in a way where they think it's terribly retro. The plot needed to do what it needed to do. But I'm a little surprised to find myself looking a little bit like an advocate of teen marriage. It takes some exceptional circumstances for that to be a reasonable idea.
Jeff Eastin is good in that he'll tell me a plot twist that's coming up if he thinks it would be something Peter would know ahead of time, and if it's something that would be a surprise to Peter, I'll tell Jeff, 'Oh, don't tell me. I don't want to know.' And then it's exciting to read it and exciting to play it.
But nearly every woman I know has a roughly similar story - in fact, dozens of them: stories about being obsessed with a celebrity, work colleague or someone they vaguely knew for years; living in a parallel world in their head; conjuring up endless plots and scenarios for this thing that never actually happened.
I suppose it's possible that a writer would have feeling for his characters, but I can't see how, because writing is such a meticulous, intricate, technical business. I wish I could say that I love my characters and that frequently they take over the book and run away with the plot and so on. But they don't exist.
While I am usually in despair when a movie abandons its plot for a third act given over entirely to action, I have no problem with the way Harry Potter and the Chamber of Secrets ends, because it has been pointing toward this ending, hinting about it, preparing us for it, all the way through. What a glorious movie.
Long before the idea of a writer's conference was a glimmer in anyone's eye, writers learned by reading the work of their predecessors. They studied meter with Ovid, plot construction with Homer, comedy with Aristophanes; they honed their prose style by absorbing the lucid sentences of Montaigne and Samuel Johnson.
One thing that we learned that we published on our blog post is that uniformly, men lie about their height by almost exactly two inches. So if you look at a plot of census bureau data on the distribution of men's heights in the U.S. and you plot men's heights on OKCupid, it is exactly shifted two inches to the left.
I find that I am much slower in the beginning of a book. I am thinking of the plot, of the characters and who they are, and where they are going. I often throw out a lot of the writing I start with, because the characters and plot improve as I write. Or perhaps I should say it is my hope they will improve as I write.
A good script is like a work of art in itself. I've read hundreds of scripts, and good ones are very rare. If the writer has something to say, and a voice, and a plot that matches character, and an emotional trajectory that works, then I'd be an idiot to fool around with it. It's just that few scripts ever are like that.
The pattern of a newspaperman's life is like the plot of 'Black Beauty.' Sometimes he finds a kind master who gives him a dry stall and an occasional bran mash in the form of a Christmas bonus, sometimes he falls into the hands of a mean owner who drives him in spite of spavins and expects him to live on potato peelings.