Top 1200 Plot Twists Quotes & Sayings

I like storytelling, and for storytelling you need a drama. And for there to be drama, you need twists, and by twists I mean the ability to constantly change the trajectory of the story.

The earliest influence on me was the movies of the thirties when I was growing up. Those were stories. If you look at them now, you see the development of character and the twists of plot; but essentially they told stories. My mother didn't go to the movies because of a religious promise she made early in her life, and I used to go to movies and come home and tell her the plots of those old Warner Brothers/James Cagney movies, the old romantic love stories. Through these movies that had real characters, I absorbed drama, sense of pacing, and plot.

I don't think plot as a plot means much today. I'd say that everybody has seen every plot twenty times. What they haven't seen is characters and their relation to one another. I don't worry much about plot anymore.

I always start with characters rather than with a plot, which many critics would say is very obvious from the lack of plot in my films - although I think they do have plots - but the plot is not of primary importance to me, the characters are.

Beating up on public schools is not just our nation's favorite blood sport, but also a favorite conversational entertainment of the well-off - like debating the most recent toothsome plot twists of 'Big Love' - who, of course, have no dog in the fight.

You know, Motorcycle Diaries has no incredible stories, no sudden plot twists, it doesn't play that way. It's about recognizing that instance of change and embracing it.

Baseball is part of America's plot, part of America's mysterious, underlying design-the plot in which we all conspire and collude, the plot of the story of our national life.

In the best nonfiction, it seems to me, you're always made aware that you are being engaged with a supple mind at work. The story line or plot in nonfiction consists of the twists and turns of a thought process working itself out.

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.

I know from the past, critics often say my films don't have any plot, that kind of thing. I'm used to being told, "Yeah, it's slow and has no plot."

There's gonna be all the twists and turns you would expect and twists and turns you did not expect. The finale is probably the most jam-packed episode there's ever been. Things are packed into it like sardines. All of the life is squeezed in there. They lengthened it to 90 minutes because there's just so much. It's a supersized monstrosity.

The Glittering World is a stunning phantasmagoria drawn from the world just beneath the surface, aswarm with great and memorable characters and a plot that twists and turns as it hurtles forward. A grand debut. One taste, and you'll be addicted.

My outlines can be 10-20 pages in length and focus primarily on the physical active plot over the emotional plot.

If something is crucial to the plot, then I'd better be sure I've got my facts straight. Readers of crime novels are smart and savvy, and they'll waste no time letting me know if there's a hole in my plot.

This means keeping many trails open at once, inevitably requiring a fairly 'parallel' plot. This plot should be discovered rather than announced, so show, don't tell.

Plot comes first. The plot is the archictecture of your novel. You wouldn't build a house without a plan. If I wrote without a plot, it would just be a pile of bricks. Characters are your servants. They must serve your plot.

They plot, they plot, sleeping or afoot they never let up.

I plot as I go. Many novelists write an outline that has almost as many pages as their ultimate book. Others knock out a brief synopsis... Do what is comfortable. If you have to plot out every move your characters make, so be it. Just make sure there is a plausible purpose behind their machinations. A good reader can smell a phony plot a block away.

You can't remember the plot of the Dr Who movie because it didn't have one, just a lot of plot holes strung together. It did have a lot of flashing lights, though.

Before I start, I trick myself into thinking I know what's going to happen in the story, but the characters have ideas of their own, and I always go with the character's choices. Most of the time I discover plot twists and directions that are better than what I originally had planned.

As in all Abercrombie's books, friends turn out to be enemies, enemies turn out to be friends; the line between good and evil is murky indeed; and nothing goes quite as we expect. With eye-popping plot twists and rollicking good action, Half a King is definitely a full adventure.

Morality for the novelist is expressed not so much in the choice of subject matter as in the plot of the narrative, which is perhaps why in our morally bewildered time novelists have often been timid about plot.

I can tell you that as a writer and as a reader, I regard character as king. Or queen. No matter how riveting the action or interesting the plot twists, if I don't feel like I'm meeting someone who feels real, I'm not going to be compelled to read further.

Delicious... Everything I'd hoped for in a new Wild Cards book. The character interactions and plot twists have exactly the complexity, surprise, and unsentimental realism I'd expect out of a George R. R. Martin project.

I like to be surprised. Fresh implications and plot twists erupt as a story unfolds. Characters develop backgrounds, adding depth and feeling. Writing feels like exploring

When I started 'Still Missing,' I had a few key plot points in mind, which I played around with mentally for a couple of months, then one day I just started writing. Not having an outline led to some cool plot twists, but also many rewrites! A lot of the plotting happened on subsequent drafts.

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.

The characters are the plot. What they do and say and the things that happen to them are, in a sense, what the plot is. You can't take character and plot apart from each other, really.

The plot! The plot! What kind of plot could a poet possibly provide that is not surpassed by the thinking, feeling reader? Form alone is divine.

Try this experiment: Pick a famous movie - 'Casablanca,' say - and summarize the plot in one sentence. Is that plot you just described the thing you remember most about it? Doubtful. Narrative is a necessary cement, but it disappears from memory.

There are times that you have a plot in your head, but then you find that the characters don't want to do that. When you're looking at the story from the outside, you can create whatever twists and turns you want. But when you're writing, you're inside the characters' heads, and you see that they may be motivated to do something different.

The romance is the primary plot in a story that has two plots. The second plot is not a subplot, but one that is interwoven with the romance plot (if that makes sense.) A story needs compelling characters in a compelling plot.

My books are primarily plot driven but the best plot in the world is useless if you don't populate them with characters that readers can care about.

Most short stories have but one plot. The very best, however, have what I call a plot-and-a-half – that is, a main plot and a small subplot that feeds in a twist or an unexpected piece of business that ads crunch and flavor to the story as a whole.

As a writer, I try to appeal to the 'elusive boy audience' the same way I try to appeal to everyone: I do the very best I can to create interesting characters, addictive plots, tons of conflict, believable settings, unexpected plot twists, intriguing beginnings, and satisfying endings.

Life and career are the same thing. Every life has to have a plot and a plan. You have to recognize this early and be quite cold-blooded in the discovery and articulation of that plot.

'Rozabal' was theological while 'Chanakya' is political. Unlike 'Rozabal,' which was about research, the aim of 'Chanakya' is plot, plot, plot, which carries the character. The common DNA, of course, is history.

"Novels and gardens," she says. "I like to move from plot to plot."

Characterization is not divorced from plot, not a coat of paint you slap on after the structure of events is already built. Rather characterization is inseparable from plot.

I definitely feel that plot flows from character. I don't believe that you can construct a plot and insert people into it.

I want the plot to be as complicated as possible. Usually I'll write all the way through to an end, and then I go back and try to fix the ending so that it makes sense. I don't think out the plot ahead of time.

Plot is people. Human emotions and desires founded on the realities of life, working at cross purposes, getting hotter and fiercer as they strike against each other until finally there's an explosion-that's Plot.

Remember: Plot is no more than footprints left in the snow after your characters have run by on their way to incredible destinations. Plot is observed after the fact rather than before. It cannot precede action. It is the chart that remains when an action is through. That is all Plot ever should be. It is human desire let run, running, and reaching a goal. It cannot be mechanical. It can only be dynamic.

A lot of the fun of 'Gravity Falls' comes from the secrecy surrounding the plot. We want fans to be able to guess and speculate, to be surprised by twists and be engaged when they get things right.

War isn't a TV show with plot twists to keep the viewers interested. The proliferation of images and blanket media coverage have suffocated the life out of old-style photojournalism.

I like to be surprised. Fresh implications and plot twists erupt as a story unfolds. Characters develop backgrounds, adding depth and feeling. Writing feels like exploring.

Plot a murder, you're saying. But every plot is a murder in effect. To plot is to die, whether we know it or not.

Chris Claremont once said of Alan Moore, "if he could plot, we'd all have to get together and kill him." Which utterly misses the most compelling part of Alan's writing, the way he develops and expresses ideas and character. Plot does not define story. Plot is the framework within which ideas are explored and personalities and relationships are unfolded.

Plots are artificial. Does your life have a plot? It has characters. There is a narrative. There's a lot of story, a lot of character. But plot? Eh, no.

Life compulsively dangled the possibility of life. Life, the dramatist on speed. Life, that couldn't stop with its foreshadows and ironies and symbols and clues, its wretched jokes and false endings and twists. Life with its hopeless addiction to plot.

A page a day means I need to focus on a gag a day, and that's great for laughs but bad for plot, and I'm primarily a plot guy.

I definitely feel that plot flows from character. I dont believe that you can construct a plot and insert people into it.

Obviously, a theatrical masterpiece needs more than a plot; many television shows are nothing but plot, and it is doubtful that they will stand the test of time. But I also don't think that making fun of plot or acting like we're all somehow 'above' structure is such a good idea.

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.

It's not the plot [of Valley of Violence] - the plot is the reason to get all these things to happen, all these character moments to happen. It was always meant to have these two perspectives.

You can only see 'Star Wars' for the first time once, and people are watching it again and again and again, and it's a testament to the strength beyond the plot twists that it has. The narrative strength that it has is that it can be enjoyed even though you know the biggest plot elements in it.

Fiction writers come up with some interesting metaphors when speaking of plot. Some say the plot is the highway and the characters are the automobiles. Others talk about stories that are "plot-driven," as if the plot were neither the highway nor the automobile, but the chauffeur. Others seem to have plot phobia and say they never plot. Still others turn up their noses at the very notion, as if there's something artificial, fraudulent, contrived.

The time has mainly gone on getting Inform into a decent shape for public use. I suppose the plot of 'Curses' makes a sequel conceivable when compared with, say, the plot of 'Hamlet' but none is planned.

The Blood She Betrayed is unique, and Shahkara, the character, is one of the most engaging strong female role models I’ve seen in a long time. This girl can handle herself! The plot is full of ingenious twists, turns and surprises, and I look forward to reading the next book in the series.

She gathers my half of the blankets around her and curls up against the wall. She will sleep for hours more, dreaming endless landscapes and novas of colour both gorgeous and frightening. If I stayed she would wake up and describe them to me. All the mad plot twists and surrealist imagery, so vivid to her while so meaningless to me. There was a time when I treasured listening to her, when I found the commotion in her soul bitter-sweet and lovely, but I can no longer bear it.