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
Rashly, And praised be rashness for it--let us know, Our indiscretion sometime serves us well When our deep plots do pall, and that should learn us There's a divinity that shapes our ends, Rough-hew them how we will
Baseball is part of America's plot, part of America's mysterious, underlying design-the plot in which we all conspire and collude, the plot of the story of our national life.
I have a book coming out in September, for example, where the plot concerns counterfeiting, and I had to do a lot of research on that. Or on any legal matters, for example, I have to do a lot of research online.
When the reader and one narrator know something the other narrator does not, the opportunities for suspense and plot development and the shifting of reader sympathies get really interesting.
J. K. Rowling said Bellatrix's role was going to be significant in the last one, when I showed some reluctance in playing a tiny bit part. Up front, they said, 'You're very significant in the last one. ' But significant could mean a lot of things. That could just mean a significant plot point. Doesn't necessarily equal big part.
Just as a gardener must tend his or her plot, keeping out the weeds, you must tend the garden of your mind, weeding out the thoughts of lack, limitation, and negativity. You must nurture and tend the thoughts of happiness, success, and purpose.
[Ivy Wilkes] loves [Georgia] O'Keeffe's work, but is not satisfied by just looking at the paintings; she wants the painting to be her own. The plot grew naturally out of Ivy's personality (and flaws).
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 always start with characters rather than with a plot, which many critics would say is very obvious from the lack of plot in my films - although I think they do have plots - but the plot is not of primary importance to me, the characters are.
In writing, I'm totally anti-plans of any kind. All my attempts to plan and plot novels have come to grief, and in expensive ways.
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.
When you look back on your life, it looks as though it were a plot, but when you are into it, it's a mess: just one surprise after another. Then, later, you see it was perfect.
Once you've got a concept and a sense of themes and what it's about, then you can start to add your plot and sort of Tetris in all of the elements that you want to see, but also attach them to something that has cohesion, like a mold.
[Epitaph:] Involved in a plot.
though the wide universe is full of good, no kernel of nourishing corn can come to him but through his toil bestowed on that plot of ground which is given to him to till.
You can't build a plot out of jokes. You need tragic relief. And you need to let people know that when a lot of frightened people are running around with edged weaponry, there are deaths. Stupid deaths, usually. I'm not writing 'The A-Team' - if there's a fight going on, people will get hurt. Not letting this happen would be a betrayal.
The time has mainly gone on getting Inform into a decent shape for public use. I suppose the plot of 'Curses' makes a sequel conceivable when compared with, say, the plot of 'Hamlet' but none is planned.
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.
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.