I confess that I cannot understand how we can plot, lie, cheat and commit murder abroad and remain humane, honorable, trustworthy and trusted at home.
I like books that have razor-sharp plotting that snaps and moves along.
It's not about the main character being different at the end. I don't want my main character to be different in the end. I still want him committed to his ideas, to be steadfast, true and loyal.
I feel like my mum is in heaven sharing a cup of tea with Lady Fate and plotting my life out like a chess game.
A story to me means a plot where there is some surprise.
Because that is how life is - full of surprises.
Show me where Stalin is buried and I'll show you a Communist Plot.
I tend not to know what the plot is or the story is or even the theme.
Those things come later, for me.
Persons attempting to find a motive in this narrative will be prosecuted;
persons attempting to find a moral in it will be banished; persons attempting to find a plot in it will be shot.
The justification for those actions was that we were living in a very hard, predatory, cloak-and-dagger world and that the only way to deal with a totalitarian enemy was to intimidate him. The trouble with this theory was that while we live in a world of plot and counterplot, we also live in a world of cause and effect. Whatever the cause for the decision to legitimize and regularize deceit abroad, the inevitable effect was the practice of deceit at home.
Real life seems to have no plots.
Man is eminently a storyteller. His search for a purpose, a cause, an ideal, a mission and the like is largely a search for a plot and a pattern in the development of his life story -- a story that is basically without meaning or pattern.
Lives are not stories. A day, a month, a year, or a lifetime has no plot. Our experiences are only the raw stuff of stories. The beginnings of our lives are arbitrary; usually their endings come too soon or too late for any neat narrative conclusions.We turn our lives into stories, and, in doing so, we can stop them where we choose. Our stories do in a small way what memoirs and autobiographies do on a grander scale: they allow a self-fashioning that gives remembered lives a coherence that the day-to-day lives of actual experience lack. History, of course, also imposes coherence, but the historian works will less malleable stuff than memory. Memoirs are seamless; good histories disrupt.
The female that loves unrequited sleeps, And the male that loves unrequited sleeps, The head of the money-maker that plotted all day sleeps, And the enraged and treacherous dispositions, all, all sleep.
There is a time in every man's education when he arrives at the conviction that envy is ignorance; that imitation is suicide; that he must take himself for better for worse as his portion; that though the wide universe is full of good, no kernel of nourishing corn can come to him but through his toil bestowed on that plot of ground which is given to him to till.
I don't like plots. I don't know what a plot means. I can't stand the idea of anything that starts in the beginning - you know, 'beginning, middle and end.'
We inherit plots. There are only two or three in the world, five or six at most. We ride them like treadmills.
Plot, rules, nor even poetry, are not half so great beauties in tragedy or comedy as a just imitation of nature, of character, of the passions and their operations in diversified situations.
I think it's a question which particularly arises over women writers: whether it's better to have a happy life or a good supply of tragic plots.
The Cold War isn't thawing; it is burning with a deadly heat. Communism isn't sleeping; it is, as always, plotting, scheming, working, fighting.
If you stop one terror attack in the U.
S., it may be connected to multiple other plots out there that are connected. If you reveal that you stopped one plot, it may tip our hand.
A free and prosperous Iraq will be a major blow to the terrorists and their desire to establish a safe haven in Iraq where they can plan and plot attacks.
Did you ever see Cheech and Chong's Up in Smoke? That's what happens if you really smoke weed and make a movie. You get two guys and no plot and it's basically like, 'Yeah! Let's drive a van made of weed!' And that's pretty much the movie.
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.
I've learned that in the theater the story is everything.
Every lyric, every line and every musical gesture has to propel the journey of a given character or the overall plot.
I always try to tell a good story, one with a compelling plot that will keep the pages turning. That is my first and primary goal. Sometimes I can tackle an issue-homelessness, tobacco litigation, insurance fraud, the death penalty-and wrap a good story around it.
I started Pilates. I'm the only guy in there. They plot before I get there: 'How can we make John look ridiculous?' Because every exercise involved my legs up, like I'm in the stirrups or something.
Maybe I should have taken a few chances.
That's not to say I want to go make 'Star Wars,' but I need to shift my career into the studio world. That's where my head was at when I thought of the original plot.