Plot Quotes

In order to have a plot, you have to have a conflict, something bad has to happen.

I began to be impressed by what made a good book-how you needed to have a sensible story, a plot that developed, with a beginning, a middle, and an end that would tie everything together.

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.

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 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.

There is not one big cosmic meaning for all, there is only the meaning we each give to our life, an individual meaning, an individual plot, like an individual novel, a book for each person.

I always have a basic plot outline, but I like to leave some things to be decided while I write.

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.

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.

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.

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.

For years, I sort of would try to write a story that somehow fit the title. And I don't think it happened for maybe another four years that I actually thought of a story, the plot of a story that corresponded to that phrase.

Wake the power within thee slumbering, trim the plot that's in thy keeping, thou wilt bless the task when reaping sweet labour's prize.

I don't care how good a song is - if it holds back the storyline, stalls the plot, your audience will reject 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.

So I work hard to present the human side of my characters while not neglecting the plot.

Mysteries and thrillers are not the same things, though they are literary siblings. Roughly put, I would say the distinction is that mysteries emphasize motive and psychology whereas thrillers rely more heavily on action and plot.

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.

Some movies I see today have the most dramatic plot points but the actors are not playing them dramatically.

I try to trace the connection between the characters and that way a story or plot emerges.

It is scary for an actor when you get hired as a lead. No matter what the plot is, it is your job to do something interesting enough to make them want to get inside the lead character's head.

The one thing I would like more credit for is being part of a movement which involves recognising the importance of plot and asserting that books of literary worth could be written that had plots.

If the audience never understands the plot, it can be counted on to be attentive to the very end.

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.

To this day, I get rewrite offers where they say: 'We feel this script needs work with character, dialogue, plot and tone,' and when you ask what's left, they say: 'Well, the typing is very good.'

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.

I think a lot of composers get into trouble just making up a plot and expecting an audience to follow that.

I've never sat down and thought about the difference between plot and theme. To me, that's never been important.

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.

Essentially and most simply put, plot is what the characters do to deal with the situation they are in. It is a logical sequence of events that grow from an initial incident that alters the status quo of the characters.