Quotes of All Topics . Occasions . Authors
I don't like plots. I don't know what a plot means. I can't stand the idea of anything that starts in the beginning - you know, 'beginning, middle and end.'
It was a challenge for me to do a plot because I'd been an essayist and a journalist. I had to be vigilant about moving things along and being entertaining.
Sometimes I'll hear a phrase or a word and write it down in my little black notebook (a writer's best mate), then come back to it and work a plot around it.
The thing should have plot and character, beginning, middle and end. Arouse pity and then have a catharsis. Those were the best principles I was ever taught.
I saw 'The Help' on DVD. I was blown away by Viola Davis: she really straddled that fine line in the plot between what was tragic and what was heart-warming.
Normally you read a screenplay - and I read a lot of them - and the characters don't feel like people. They feel like plot devices or cliches or stereotypes.
The rules I go by are: Always keep your villains bad, and keep the plot grounded and real. If you keep those stakes, the comedy will bounce off that and work.
Mirzapur's female characters are very strong, liberated women. Infact, the boys are leaning on us and we are contributing to the plot in a very strong manner.
As a matter of writing philosophy, if there is one, I try not to ever plot a story. I try to write it from the character's point of view and see where it goes.
A life without purpose is like a novel without a plot. It wanders all over the place, is hard to follow, and in the end, doesn't get particularly good reviews.
One difference between film noir and more straightforward crime pictures is that noir is more open to human flaws and likes to embed them in twisty plot lines.
The conventional Aristotelian plot proceeds by means of a protagonist, an antagonist, and a series of events comprising a rising action, climax and denouement.
Usually I'll write all the way through to an end, and then I go back and try to fix the ending so that it makes sense. I don't think out the plot ahead of time.
In 'Zombieland,' it was such a freewheeling plot it almost didn't matter what the characters were doing scene to scene as long as there was a consistent banter.
I'm not like Jonathan Hickman, who's able to sort of plot out three years of a book ahead of time. I'm much more of a guy who plots out an arc or two at a time.
I write where I can see things happen, and then things get glued together. I do have the final scene, but that really is an epilogue. It's not part of the plot.
The Carrie in the plot was too much like the Carrie in the book. She smoked, she swore a lot, she was very hard, very cynical. I could never have pulled it off.
I am done with the cliched heroine roles. I can't go to work without a challenge. I want to do films that drive me, films in which I am a part of the main plot.
I really felt sometimes like I was physically pulling the plot, and it was heavy. I'm sure it didn't look great that I was going into my dressing room at lunch.
I've always loved movies dealing with the terror of a woman who doesn't really know her husband and finds out that he's a monster. It's one of my favorite plots.
Mohammed al-Qahtani was not alleged to be a leader of the Sept. 11 plot. He was not trained as a pilot. If he was involved, he was one of the 'muscle' hijackers.
We live in our tales of ourselves, she thought, and ignore as best we can the contradictions, and the lapses, and the abrasions of plot against our mortal souls.
Like a lot of writers, I just got sick to death of conventional fiction. I absolutely couldn't stand the illusion of reality and plot. I just couldn't stomach it.
When I write my novels I don't really have a huge plan beforehand; I don't have the whole plot and architecture, so the story is sort of discovered as I write it.
Disturbing and intriguing. The Synchronicity Factor is much more than a page-turning thriller, for its remarkable plot is rooted in real science and real history.
You can't remember the plot of the Dr Who movie because it didn't have one, just a lot of plot holes strung together. It did have a lot of flashing lights, though.
The challenge that I set for myself was to see whether or not plot and structure could coexist, and why it was that we had to always privilege one above the other.
I couldn't resist hiding some historical details and a few clues relevant to the plot and characters of 'A Discovery of Witches' throughout the pages of the novel.
When you get ready to write your novel, outline it first. There's nothing worse than getting halfway through and realizing you've painted yourself in a plot corner.
I like dramas because there's a big overlap between film and fiction, so I feel relatively qualified to talk about plot and characterisation and that sort of thing.
One great part of every human existence is passed in a state which cannot be rendered sensible by the use of wideawake language, cutanddry grammar and goahead plot.
When I begin writing, I have no idea what my novels are ultimately going to be about. I don't have a plot. I never consider a theme. I don't make notes or outlines.
The idea that I'm going to have to sit down to write some fiction where I'm going to have to think of a plot would really scare me, because it would come out a mess.
We like to make sure there is a plot at the center of it and that you care about the people but to poke fun of little things, like the toast restaurant in the pilot.
Typically, I have a fairly good grip on the plot of a suspense novel before I set about writing it. I must know beforehand how the mystery ultimately will be solved.
I would say I have sort of a natural gift for character, and following one person's point of view at a time, and dialogue, but I'm not naturally good at strong plot.
When Melissa McCarthy came out with 'Bridesmaids,' all of a sudden you saw a plus-sized woman who had three dimensions, was not an appendage, was pivotal to the plot.
Growing nations should remember that, in nature, no tree, though placed in the best conditions of light, soil, and plot, can continue to grow and spread indefinitely.
It would not be amiss for the novice to write the last paragraph of his story first, once a synopsis of the plot has been carefully prepared - as it always should be.
This means keeping many trails open at once, inevitably requiring a fairly 'parallel' plot. This plot should be discovered rather than announced, so show, don't tell.
If my writing comes to a halt, I head to the shops: I find them very inspirational. And if I get into real trouble with my plot, I go out for a pizza with my husband.
I was so obsessed by Lisbeth Salander and all the characters, but of course if you're going to write a crime novel worthy of Stieg Larsson, you need a plot, don't you?
I am not an analytical writer. Once I flesh out my characters and decide on the elements of my plot, the story unfolds in my head almost as though it was a movie reel.
When you describe a character's dream, it has to be sharper than reality in some way and more meaningful. It has to somehow speak to plot, character, and all the rest.
You know, Motorcycle Diaries has no incredible stories, no sudden plot twists, it doesn't play that way. It's about recognizing that instance of change and embracing it.
The Monkees was a straight sitcom, we used the same plots that were on the other situation comedies at the time. So the music wasn't threatening, we weren't threatening.
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.
'Where'd You Go, Bernadette' is an epistolary novel - one told in letters. I had no idea how much fun it would be, puzzling together the plot with letters and documents.
Guy Rivers, a conventional piece as regards the love affair which makes a part of the plot, is a tale of deadly strife between the laws of Georgia and a fiendish bandit.