Quotes About Plot

For 'Game of Thrones,' I realized immediately that it was about the characters.

All great rebellions are born of private acts of civil disobedience that inspire rebel bands to plot together.

In 'Law & Order,' your main job is to stay out of the way of the plot. On another show you'd receive your script and see stuff that seems challenging and feel excited that the writers thought highly enough of you to write it for you.

The redemption plot is one of the oldest story shapes.

That's the way life is: meaning is always there, but there is no clearly given way of decoding it. Conventional cinema obscures this with an easy reduction of meaning to plot and schematic characters.

Well, I must tell you I write the scripts very close to the bone. So I'm writing episode seven now and couldn't tell you what happens in episode eight.

Nothing is harder to dramatize than happiness.

I know all actors are different, but I've never sat down and asked the writers, 'Where are we headed? Am I good or bad?'

The only aspect I'd probably change in some of my films is the death of the heroine. I wish I'd kept some of them alive.

that's really all a story is: a series of things that happen in sequence, in which we can discern a pattern of causality.

We could understand a story as simply a series of such expectation/resolution moments.

We tend, in discussion, to reduce stories to plot (what happens). We feel, correctly, that something of their meaning resides there. But stories also mean through their internal dynamics—the manner in which they unfold, the way one part interacts with another, the instantaneous, felt, juxtaposition of elements.

We got kind of into a rhythm at 'Parks' because there were so many characters that we had an A story, a B story, and a C story just about every episode. So by the middle of that show's run, we always had three stories, and it worked really well.

But I'm a fairly mechanical worker - I tend not to think about themes so much as plot. I want to get the feeling right. If it's moving through tunnels, I ask myself, what is it like to move through tunnels?

These days, I like to think of sentences as workers. Only one of their jobs is to look and sound good. Sentences are the carriers of plot. They're the conjurers of images, the conveyors of tone and meaning and voice. The best sentences surprise us.

In constructing the plot and working it out with the proper diction, the poet should place the scene, as far as possible, before his eyes. In this way, seeing everything with the utmost vividness, as if he were a spectator of the action, he will discover what is in keeping with it, and be most unlikely to overlook inconsistencies.

The craft of writing is all the stuff that you can learn through school; go to workshops and read books. Learn characterization, plot and dialogue and pacing and word choice and point of view. Then there's also the art of it which is sort of the unknown, the inspiration, the stuff that is noncerebral.

I could make up characters till the cows came home. Plot's what hard. Very hard.

I used to watch 'EastEnders' till the plots got ridiculous.

'Joji' is a special film, the story will keep audiences hooked till the end.

As a filmmaker, I tilt towards stories which are crime-led.

I hope they find some way to come up with a new story that involves Beast in my timeline.

I keep an elaborate calendar for my characters detailing on which dates everything happens. I'm constantly revising this as I go along. It gives me the freedom to intricately plot my story, knowing it will at least hold up on a timeline.

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.