A Quote by Iain Sinclair

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.
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.
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.
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.
To plot is to live. […] We start out lives in chaos, in babble. As we surge up into the world, we try to devise a shape, a plan. There is dignity in this. Your whole life is a plot, a scheme, a diagram. It is a failed scheme but that's not the point. To plot is to affirm life, to seek shape and control. Even after death, most particularly after death, the search continues. Burial rites are an attempt to complete the scheme, in ritual. Picture a state funeral, Jack. It is all precision, detail, order, design. The nation holds its breath. - (WN 292)
As regards plot I find real life no help at all. Real life seems to have no plots. And as I think a plot desirable and almost necessary, I have this extra grudge against life.
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.
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 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.
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.
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.
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.
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.
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.
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."
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.
This site uses cookies to ensure you get the best experience. More info...
Got it!