Quotes About Plot

People who work on soaps all the time understand the formula of how to do it.

Plot and scene are still the hardest things for me, though I think they're the building blocks of what makes a story work.

I think what makes a good action film is a story that gets you involved. Just action, by itself, is not going to work.

No matter what strategies you make, if you don't get the right script, everything is going to go down.

I can't say too much about it because I don't know a lot. We're not told what's in store for our characters until we turn up to shoot the episode. But it's fair to say that Betty and her son bring a brand new mystery to the street and they will be around all season.

I love finding out how authors work, because it can either go full Carrie in 'Homeland,' with loads of Post-it Notes and string on the wall and they know everything that's happening in the plot - or they let the characters tell them where they want to go and what happens next.

In my books, women often solve the problem. Even if the woman is not the hero, she's a strong character. She does change the plot. She'll often rescue the male character from some situation.

I strongly believe that besides having good action, action-oriented films need to have a good baseline for the script.

The challenge that I set for myself was to see whether or not plot and structure could coexist, and why it was that we had to always privilege one above the other.

You can't write just anything. Your story needs structure.

Some writers can produce marvelous plots without planning it out, but I can't. In particular I need to know the structure of a novel: what's going to happen in each chapter and each scene.

If you look closely at 'Breaking Bad' and any given episode of 'The X Files,' you will realise the structure is exactly the same.

It's hard to write a good play because it's hard to structure a plot. If you can think of it off the top of your head, so can the audience.

When 'American Born Chinese' started getting a lot of attention, I freaked out a little bit because I realized that up until then I had just been doing comics by following my gut. I didn't really know much about plot structure or anything; I kind of just followed my gut.

With 'Pretty Deadly,' I think you'd be hard-pressed to find a three-act structure in it. I don't know - someone probably can.

A structure is a bit like a story. People will go along with you - they see where you're going.

I'm a stickler for structure. So I tend to make sure I'm hitting certain points in the script and that I'm progressing and moving things along. You know, are the characters keeping the plot moving along? And are they true, and do I know their motivations?

I started as a playwright. Any sort of scriptwriting you do helps you hone your story. You have the same demands of creating a plot, developing relatable characters and keeping your audience invested in your story. My books are basically structured like three-act plays.

You know, I think the film business is its own worst enemy because it sells movies on DVD footage and 'behind the scenes,' and now it's a real struggle trying to keep storylines and plotlines a secret.

Every book has got its challenges. You run into a plot point that you can't figure out, or a scene that you struggle to write and have to write 50 times.

I always have one or two, sometimes more, Navajo or other tribes' cultural elements in mind when I start a plot. In Thief of Time, I wanted to make readers aware of Navajo attitude toward the dead, respect for burial sites.

back up and if you enjoy yourself." "I'm having a wonderful time!" She tried to plot

And what if they win?" Burn demanded. "They won't," Scarlet said. "But of course killing them ourselves is a solid backup plan." "Excuse me," Tsunami interrupted. "You know we're right over here, right? Don't you want to hatch your evil plans somewhere more secretive?

Or was your mission to poison the queen?