Plot Quotes - Page 7

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.

What terrifies me? When I read about plots of evil taking over the world and obliterating women's hard-won rights.

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.

Oh! think what anxious moments pass between The birth of plots, and their last fatal periods, Oh! 'tis a dreadful interval of time, Filled up with horror all, and big with death!

It's very liberating for me to realize that I don't have to step up to the plate with a plot that involves the U.N. Security Council.

I see God now as an unimaginative writer of popular fictions, someone who builds stories around sadistic and graceless plots, narratives that exist only to express His terror of a woman's power to choose who and how to love, to redefine love as she sees fit, not as God thinks it ought to be. The author is unworthy of His own characters.

Life is not a plot; it's in the details.

Normally I start with a plot, and write a synopsis, and the ideas come from the construction.

There is only one plot-things are not what they seem.

Life has no plot, why must films or fiction?

My books are primarily plot driven but the best plot in the world is useless if you don't populate them with characters that readers can care about.

The main plot line is simple: Getting your character to the foot of the tree, getting him up the tree, and then figuring out how to get him down again.

It is possible to combine a story line and plot line in the same work. Usually the storylines comes first, serving as a background to the plot line, but not always.

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.

Plots and character don't make life. Life is here and now, anytime you say the word, anytime you let her rip.

I love a life whose plot is simple.

One elephant having a trunk was odd; but all elephants having trunks looked like a plot.

In tragic life, God wot, No villain need be! Passions spin the plot: We are betrayed by what is false within.

Living "in" a story, being part of a narrative, is much more satisfying than living without one. I don't always know what narrative it is, because I'm living my life and not always reflecting on it, but as I edit these pages I am aware that I have an urge to see my sometimes random wandering as having a plot, a purpose guided by some underlying story.

The beginning of a plot is the prompting of desire.

Once a novel gets going and I know it is viable, I don't then worry about plot or themes. These things will come in almost automatically because the characters are now pulling the story.

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.

The cliches are that it's the most generic Starsky and Hutch plot you can find.

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.

People don't come to Marvel movies for personal life subplots, no.