Quotes About Plot

Imagination—that's the key word here. With your affairs, the arousal starts on your flight over there. You don't need the blue pill because what turns you on is the plot, the planning, the carefully chosen clothes. All the anticipation is what fuels the desire. When you come home and the first thing you do is take off your nice clothes and put on old sweatpants, nobody's going to get turned

Imagination—that's the key word here. With your affairs, the arousal starts on your flight over there. You don't need the blue pill because what turns you on is the plot, the planning, the carefully chosen clothes. All the anticipation is what fuels the desire. When you come home and the first thing you do is take off your nice clothes and put on old sweatpants, nobody's going to get turned on.

Whatever the thinking of Prof. Lowry and his editor, they obviously share the conviction that The Homiletical Plot can sit comfortably on the shelf with the scores of books on preaching since 1980.

A sermonic idea is a homiletical bind; a sermon is a narrative plot!

The term plot is key both to sermon preparation and to sermon presentation.

To what extent was this David Cameron's fault? It's hard to think of a more complete definition of political failure than an essentially pro-EU Prime Minister who plots to defeat his enemies on the right, and by doing so ejects his country from the EU by mistake,

If you're Stephen King and you realized halfway through you've created far too many plot lines; you arbitrarily murder a few in the middle of the book. If you're George RR Martin; well, you just keep writing more books and murder them at your leisure.

when you gain an understanding of the structure that lies beneath stories. When you understand the bone structure of a plot skeleton, you'll know how to build a story.

One of the keys to good pacing is to alternate your plot complications with rewards. Like a pendulum that swings on an arc, let your character relax, if only briefly, between disasters.

I was supposed to write a romantic comedy, but my characters broke up.

Some authors, when starting a novel, imagine a place first. Others, a character starts taking shape in their head. I start with a hook, a situation, a 'what if.'

There are two questions that you ask yourself as a writer, and one of them is, 'But why?' The question that takes the book forward is, 'What if? What if x y or z happened? How would those characters react?'

It's an interesting plot device to enter in a third wheel - it always helps raise the stakes for all parties involved. But often, those characters can be one-dimensional.

A story to me means a plot where there is some surprise. Because that is how life is - full of surprises.

With fiction, you can talk about plot, character and narrative, whereas a poem brings home the fact that everything that happens in a work of literature happens in terms of language. And this is daunting stuff to deal with.

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.

A page a day means I need to focus on a gag a day, and that's great for laughs but bad for plot, and I'm primarily a plot guy.

My outlines can be 10-20 pages in length and focus primarily on the physical active plot over the emotional plot.

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.

Character is primary. What happens as far as plot and events is not as intriguing to me as what's happening inside this particular person.

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.

The central problem of novel-writing is causality.

A director shouldn't get in the way of the movie, the story should.

A lot of directors understand everything but the story.