A Quote by Aristotle

If you string together a set of speeches expressive of character, and well finished in point and diction and thought, you will not produce the essential tragic effect nearly so well as with a play which, however deficient in these respects, yet has a plot and artistically constructed incidents.
It has been our experience that if a young man decides to go on a mission, he can not only play well when he returns, he will often play better. If an athlete could play well before he went on a mission, he will definitely play well when he returns; and, if an athlete could not play well before his mission, he probably won't play well when he returns. However, his chances of playing well are perhaps better if he goes because he will return with . . . better work habits, and a better knowledge of what it takes to be successful.
Ka knew very well that life was a meaningless string of random incidents
I respond very well to well-written material and women who have had an effect on society, something tragic or monumental has happened to them.
If you let the plot be determined by what you feel is in the character's mind at that point, it may not turn out to be a very good play, but at least it will be a play where people are behaving in a kind of truthful way.
To be sure, no piece of social machinery, however well constructed, can be effective unless there is back of it a will and a determination to make it work.
I have loved my work, I have loved people and my play, but always I have been uplifted by the thought that what I have done well will live long and justify my life, that what I have done ill or never finished can now be handed on to others for endless days to be finished, perhaps better than I could have done.
When you get to set, you don't try to play the plot; you just play the character.
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.
Manipulations of opinion, insofar as they are inspired by well-defined interests, have limited goals; their effect, however, if they happen to touch upon an issue of authentic concern, is no longer subject to their control and may easily produce consequences they never foresaw or intended.
The university is well structured, well tooled, to turn out people with all the sharp edges worn off, the well-rounded person. The university is well equipped to produce that sort of person, and this means that the best among the people who enter must for four years wander aimlessly much of the time questioning why they are on campus at all, doubting whether there is any point in what they are doing, and looking toward a very bleak existence afterward in a game in which all of the rules have been made up, which one cannot really amend.
There is one plot point in one of the 'D'Arnath' books that I don't think I handled as well as I could have. Am I going to tell you which one? No way!
Propriety of thought and propriety of diction are commonly found together. Obscurity and affectation are the two greatest faults of style. Obscurity of expression generally springs from confusion of ideas; and the same wish to dazzle, at any cost, which produces affectation in the manner of a writer, is likely to produce sophistry in his reasonings.
I'm not setting 'Jericho' up to be anything other than what it is, which is, you know, a piece of good, well thought-out, well put-together TV and entertainment.
I had to write something and couldn't think of a plot, so I decided to write a Cinderella story because it already had a plot! Then, when I thought about Cinderella's character, I realized that she was too much of a goody-two-shoes for me, and I would hate her before I finished ten pages.
we have not been impressed with any attribute of the Senate other than its appearance and manners. We have heard the best speakers: they all fire off speeches which deal with the entire subject in general terms and which do not attempt to debate, to answer opponents' arguments or offer new points for discussion. And the speeches are constantly degenerating into empty rhetoric; they abound in quotations from well-known authors or from their own former speeches.
The writer must always leave room for the characters to grow and change. If you move your characters from plot point to plot point, like painting by the numbers, they often remain stick figures. They will never take on a life of their own. The most exciting thing is when you find a character doing something surprising or unplanned. Like a character saying to me: ‘Hey, Richard, you may think I work for you, but I don’t. I’m my own person.’
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