A Quote by Alice Hoffman
I never plot out my novels in terms of the tone of the book. Hopefully, once a story is begun it reveals itself
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I never plot out my novels in terms of the tone of the book. Hopefully, once a story is begun it reveals itself.
My advice to aspiring writers of fantasy trilogies or series is that each book needs two main plots. There's the 'big story', the over-arching grand plot of the entire series, and there is the complete-in-itself, one-book plot.
Not counting Small Steps, I think Holes is my best book, in terms of plot, and setting, and the way the story revealed itself. It hasn’t changed my life, other than that I have more money than I did before I wrote it. I’m still too close to Small Steps to compare it to Holes.
Not counting 'Small Steps,' I think 'Holes' is my best book, in terms of plot, and setting, and the way the story revealed itself. It hasn't changed my life, other than that I have more money than I did before I wrote it. I'm still too close to 'Small Steps' to compare it to 'Holes.'
I try to weave a secret into each plot. It's the thread that holds the rest of the story fabric together. In fact, it's the reason for the story. I hint at the secret early on. Immediately I want the reader to get the feeling that something here isn't quite right. It helps maintain the suspense if a puzzling element is introduced in the first few pages of the book, but the answer isn't revealed until the final ones. Hopefully, readers want to know what the heck is really going on, and it's the desire to find out that keeps them turning pages.
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.
The character can never be static from book to book. People might think you just come up with a new plot and stick this guy in. Well, he has to be as new as the plot every time.
I detest the word plot. I never, never think of plot. I think only and solely of character. Give me the characters; I'll tell you a story-maybe a thousand stories. The interaction between and among human beings is the only story worth telling.
Meditation speaks. It speaks in silence. It reveals. It reveals to the aspirant that matter and spirit are one, quantity and quality are one, the immanent and the transcendent are one. It reveals that life can never be the mere existence of seventy or eighty years between birth and death, but is, rather, Eternity itself.
If you look at all the comic book films that have come since then, in terms of tone, in terms of look, even in terms of Danny Elfman's music for Batman, so many that followed have been inspired by that, specifically. It had a cultural impact worldwide.
In ordinary detective novels you never see the consequences of what happens in a story in the next book. That you do in mine.
Plot is not my forte. It's like I have to live in my head in the book for a while before I figure out what the story is... My process is a bit messier.
I never plan my novels because if I know what is going to happen, it bores me rigid. I let the story tell itself.
While I've written in the POV (point of view) of adolescent characters before... I never have had to create novels in which those characters not only drive the plot, but also are instrumental in resolving whatever issue the plot deals with.
Do you ever get moods when life seems absolutely meaningless? It's like a badly-constructed story, with all sorts of characters moving in and out who have nothing to do with the plot. And when somebody comes along that you think really has something to do with the plot, he suddenly drops out. After a while you begin to wonder what the story is about, and you feel that it's about nothing—just a jumble.
Any film I've made, I've only really begun to understand in the cutting room. That's when the story shows itself to you, like a wreck coming out of the sea.
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