A good novel is an indivisible sum; every scene, sequence and passage of a good novel has to involve, contribute to and advance all three of its major attributes: theme, plot, characterization.
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.
It's hard to write a good plot, it's very hard.
From plots and treasons Heaven preserve my years, But save me most from my petitioners. Unsatiate as the barren womb or grave; God cannot grant so much as they can crave.
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.
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.
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.
I believe the only way a writer can keep himself up to the mark is by examining each story quite coldly before he starts writing it and asking himself if it is all right as a story. I mean, once you go saying to yourself, 'This is a pretty weak plot as it stands, but I'm such a hell of a writer that my magic touch will make it okay,' you're sunk. If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them.
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.
Spy plots are hard, really hard.
The development of the plot of the novel leads to a single point, and it's my opinion that the ending that the novel has, which is a somewhat ambiguous ending, is the only logical ending given the structure of the book as a whole.
Plot and scene are still the hardest things for me, though I think they're the building blocks of what makes a story work.
Every work [of literature] has both a situation and a story. The situation is the context or circumstance, sometimes the plot; the story is the emotional experience that preoccupies the writer: the insight, the wisdom, the thing one has come to say
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 feel like I know how to write plot.
The absurdist is concerned with the search for meaning in the Universe. He believes this search to be meaningless--hence the disintegration of plot, character, and language in absurdist drama. Order is a falsehood that we, God, those who came before us, have imposed on a random universe. However, the absurdist is confronted with a curious paradox: though he believes the Universe to be meaningless, he cannot abandon the search for meaning--or he will die.
The culture industry perpetually cheats its consumers of what it perpetually promises. The promissory note which, with its plots and staging, it draws on pleasure is endlessly prolonged; the promise, which is actually all the spectacle consists of, is illusory: all it actually confirms is that the real point will never be reached, that the diner must be satisfied with the menu.
I farm a little plot of things to say, with not much frontage on the busy road.
Plots are for dead people.
Satan cannot deny but that great wonders have been wrought by prayer. As the spirit of prayer goes up, so his kingdom goes down. Satan's strategems against prayer are three. First, if he can, he will keep thee from prayer. If that be not feasible, secondly, he will strive to interrupt thee in prayer. And, thirdly, if that plot takes not, he will labour to hinder the success of thy prayer.