One of my fave TV shows is Into the Badlands because martial arts staged well and magically and saturated colours and eye candy and coherent plot and world building. It has a strong diverse cast.
I need time to develop the idea into a plot before I talk about it.
I really like the spooky twists and the intense mystery. I think the various plot devices work really well for TV, but they are still also in the spirit of Pretty Little Liars as a whole. I also really liked Spencer's breakdown in the previous season after Toby betrayed her. The girls have had breakdowns of sorts in the books, so it was fun to see that on-screen.
I am committed now to one thing: lyric sequences. I want the intensity of lyric, but the scope and arc of narrative. so, I think I'll just write sequences for the foreseeable (the Beloved sequence doesn't have a 'plot' so I can just keep adding poems to it, it's like a giant bag I can just put beloved lyrics into - I think there are about 300 of them i've published by now).
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 want the situations and plots to be surprising and unusual.
Usually I work out the plot before I start. This time I thought: Writers always talk about not knowing where a book is going - -I want to experience that, too. What I found out is that it's very interesting, but it takes much longer because you have so many false starts. You take wrong turns and you have to go back and start the whole chapter, or the whole section, from scratch.
You say fate is almost indispensable to literature - I think it's completely indispensable, at least in a novel, because a novel always has a plot. Even if nothing happens, even if someone just spends a day walking around Dublin, or whatever, there's still something going on.
The Illusionist is the storyteller in so many ways. Symbols become his obsession. It's not simply about creating plot - one must also grapple with theme. Nowadays we have a lot of characters and a lot of action but it's hard to sit still and really meditate on meaning, worldviews, concepts, ideologies even. I make my Illusionist do what I've had to do, often with copious amounts of stumbling and frustration. His real humanity comes from being an artist, I think - his creativity is what makes him a man.
I was aware that I had to pay off things in a convincing emotional fashion, that I had to address the lingering plot points in some real tangible sense, and that I had to make this a self-contained novel, in case I'm run over by a bus tomorrow or in case there's no demand for anyone to ever see a sequel. (Two things that I hope don't happen, incidentally.)
I don't revise a lot when writing short stories. As far as the novel, I definitely thought more about plot. Honestly, I'm still pretty confused about what "plot" means. I've been reading some of my Goodreads reviews and one reader noted that the The Last Days of California "reads like a short story stretched to the breaking point, padded and brought into novel range..." I don't know what people want, really.
For whatever reason, thus far it's been important to me not to write that kind of collection. Which means that I've spent months playing tic-tac-notecard, trying to get the stories in an order whereby stories that are similar in any given way (diction, narrative stance, setting, plot) are separated by others that aren't.
Nonfiction ties your hands a bit, and just like writing poetry in rhyme, it can force you to make more brutal decisions in terms of word choice, plot, etc.
Europe is being absolutely swamped and destroyed with the crime and the problems, and it could be some sinister plot.
I studied Hitchcock and Josef von Sternberg under Richard Dillard at Hollins, and that year under his tutelage just completely rewired my brain. Both directors combine moral seriousness with great artistry and, certainly in Hitchcock's case, an enormous respect for plot, for its power to enthrall and delight.
Though it's marvelously entertaining, and I had fantastic fun writing the book, it's not terribly easily, the material, and it's not all that familiar...although we think it is familiar. The processes of the wonderful narratives are very intricate. It's about the charm - the spellbinding charm - of ingenuity, and it's not so easy to remember the plots or the structure or even the names.
Plot was always secondary in my mind.
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 started out as a poet who primarily wanted to write about image and moment. Over the years I've been trying to teach myself how to do plot and scene. My first story collection had the most issues with the plotlessness, and when I was writing my second collection I was teaching myself how to make things happen.
It's just about trying to find material where I'm doing more than just being a plot device. I want to actually get to do scenes that go to interesting places and are challenging to me.
One wise decision I made was buying a plot of land with planning permission in Richmond, and building my own five-bedroom home on it. I sold three years after I completed the building and more than doubled my money. I like Richmond and always have my eyes open for other properties in the area.
That's what life is, it's the small struggles. You walk down the street for half an hour, you see half an hour of drama. You don't need convoluted plot lines. You don't need long-lost brothers. You don't need it's set on the future; it's set on the moon.
As for vegetables, I do not consider a plot of ground devoted to them worthy of the honorable name of garden. Vegetables are, of course, a part of gardening, but the least, the last, -for those who do not have to raise them, the most dishonorable part.
People are considered pure of heart when they do not approach power and pomp; but those who can be near without being affected are the purest of all. People are considered high-minded when they do not know how to plot and contrive; but those who know how yet do not do so are the highest of all.
I make very involved drawings, even little structures, and try using design to figure out the rhythm of a plot. If there are several narrators then a clue has to pop up in the first line. There have to be certain grammatical clues, or distinctive names.
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