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Plot Quotes

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Plot Quotes

“Any plot you impose on your characters will be onomatopoetic: PLOT. I say don't worry about plot. Worry about the characters. Let what they say or do reveal who they are, and be involved in their lives, and keep asking yourself, Now what happens? The development of relationship creates plot.”

“Alafair Burke's first standalone is a must read! You'll lose yourself in this riveting story of Alice Humphrey, a woman whose nightmare begins when she goes to work at her new gallery job, only to find everything gone—and a murdered man on the floor. You can't guess the plot twists that follow, as Alice's whole word turns upside down and she has to question everyone and everything she thought was real. And the ending is a shocker you'll never see coming.”

“Friends now fast sworn, Whose double bosoms seems to wear one heart, Whose hours, whose bed, whose meal and exercise Are still together, who twin, as 'twere, in love, Unseparable, shall within this hour, On a dissension of a doit, break out To bitterest enmity; so fellest foes, Whose passions and whose plots have broke their sleep To take the one the other, by some chance, Some trick not worth an egg, shall grow dear friends And interjoin their issues.”

“With the Holy Mother as the centre of inspiration, a Math is to be established on the eastern bank of the Ganga. . . . On the other side of the Ganga a big plot of land will be acquired, where unmarried girls or Brahmacharini widows will live; devout married women will also be allowed to stay now and then. Men will have no concern with this Math.”

“He knows well the evening star, and once when he awoke, in a most distressful mood (some inward pain had made up that strange thing, an infant's dream), I hurried with him to our orchard plot, and he beheld the moon, and hushed at once. Suspends his sobs and laughs most silently. While his fair eyes, that swam with undropped tears, did glitter in the yellow moonbeam.”

“J.R.R.Tolkien has confessed that about a third of the way through The Fellowship of the Ring, some ruffian named Strider confronted the hobbits in an inn, and Tolkien was in despair. He didn't know who Strider was, where the book was going, or what to write next. Strider turns out to be no lesser person than Aragorn, the unrecognized and uncrowned king of all the forces of good, whose restoration to rule is, along with the destruction of the evil ring, the engine that moves the plot of the whole massive trilogy, The Lord of the Rings.”

“The first act of insight is throw away the labels. In fiction, while we do not necessarily write about ourselves, we write out of ourselves, using ourselves; what we learn from, what we are sensitive to, what we feel strongly about--these become our characters and go to make our plots. Characters in fiction are conceived from within, and they have, accordingly, their own interior life; they are individuals every time.”

“One great part of every human existence is passed in a state which cannot be rendered sensible by the use of wideawake language, cutanddry grammar and goahead plot.”

“You are here to step into the shoes of UN ambassadors - to draft resolutions, to plot strategy, to negotiate with your allies as well as your adversaries. Your goal may be to resolve a conflict, to cope with a natural disaster or to bring nations together on an issue like climate change. You may be playing a role, but you are also preparing for life. You are acting as global citizens.”

“Three characteristics a work of fiction must possess in order to be successful: 1. It must have a precise and suspenseful plot. 2. The author must feel a passionate urge to write it. 3. He must have the conviction, or at least the illusion, that he is the only one who can handle this particular theme.”

“Anthony Ryan is a new fantasy author destined to make his mark on the genre. His debut novel, Blood Song, certainly has it all: great coming of age tale, compelling character, and a fast-paced plot. If his first book is any indication of things to come, then all fantasy readers should rejoice as a new master storyteller has hit the scene.”

“Knowing Chris Bennett's Writing as I do, I expected Only Superhuman to have an imaginative plot and a compelling superheroine in Emry Blair. What I hadn't expected was for the backstory to make so much sense. Usually science is the first causality of superhero stories, tossed aside with the breezy rationalization: 'Hey, it's comics!' Only Superhuman is, to my knowledge, the first hard science superhero story. And the Story is the better for it.”

“Before this ugly edifice, and between it and the wheel-track of the street, was a grass-plot, much overgrown with burdock, pig-weed, apple-pern, and such unsightly vegetation, which evidently found something congenial in the soil that had so early borne the black flower of civilized society, a prison.”

“In the first few pages, Kundera discusses several abstract historical figures: Robespierre, Nietzsche, Hitler. For Eunice's sake, I wanted him to get to the plot, to introduce actual "living" characters - I recalled this was a love story - and to leave the world of ideas behind. Here we were, two people lying in bed, Eunice's worried head propped on my collarbone, and I wanted us to feel something in common. I wanted this complex language, this surge of intellect, to be processed into love. Isn't that how they used to do it a century ago, people reading poetry to one another?”

“I was not interested in doing the plot of Oedipus in blackface. I did wonder, what would these people have been like if they hadn't been in that situation?... One could look at Oedipus, or at my character Augustus, as a cynical schemer who did everything because he was hungry for power. But that's just too easy. I'm more interested in how humans can embody conflicting goals and emotions.”

“I love to play with language; make it do tricks, turn a word inside out to see if it's got a hidden meaning tucked away somewhere, or perhaps find that it's capable of an extra entendre or two. . . . Plotting is nothing I did, or do, naturally. It is the hardest part of the writing process. No matter how many times you plot a script successfully, the next one, representing new and uncharted territory, convinces you that you really don't know how to do it at all.”