A Quote by David Shields

Resolution and conclusion are inherent in a plot-driven narrative. — © David Shields
Resolution and conclusion are inherent in a plot-driven narrative.
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.
Introduce your main characters and themes in the first third of your novel. If you are writing a plot-driven genre novel make sure all your major themes/plot elements are introduced in the first third, which you can call the introduction. Develop your themes and characters in your second third, the development. Resolve your themes, mysteries and so on in the final third, the resolution.
As a writer, I had learned a lot on 'Margin Call' about embracing the weaknesses of a narrative and of a project. A story always has an inherent narrative weakness.
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.
I'm probably more character-driven than plot-driven. It's rare for me to attach myself to an idea for a story.
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.
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.
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 believe that we are a story-driven species and that we understand how things are put together, in the context of narrative. It's a shame that science hasn't been taught that way, in a long time. It's usually the fact completely devoid of any human experience or any idea of how the scientist came to that conclusion.
I don't have to think too hard to keep my writing within a certain narrative thread. That happens because certain words trigger other associations you have in your mind. So, there is this inherent narrative in the end, whether it is abstract or what.
As writers and readers, we're drawn to conflict. It's that ancient theory of plot that's written on the whiteboard during every fiction workshop, characters who want something overcoming obstacles as a way to create narrative momentum and suspense. So there's that, that trauma gives us more plot.
There's another way to edit the sentence, which is to add a comma before the second 'which.' The survivor is struggling toward 'some resolution,' not a specific resolution that the mind may never find. The final clause is an appended thought, not a conclusion of the previous clause: 'Death ends a life, but it does not end a relationship, which struggles on in the survivor's mind toward some resolution, which it may never find.'
As human beings, not only do we seek resolution, but we also feel that we deserve resolution. However, not only do we not deserve resolution, we suffer from resolution. We don't deserve resolution; we deserve something better than that. We deserve our birthright, which is the middle way, an open state of mind that can relax with paradox and ambiguity.
The interest in character-driven content over narrative-driven ditto is increasing; that's why television steps in. Personally, I love it, since psychology and character, really, are my beacons.
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.
I'm not trying to create a stand-in or avatar with whom the reader can identify, but separate, believable characters with distinct personalities; I'm trying to place the reader more in the role of observer rather than that of participant. I think this approach comes out of my own personal desire and struggle to understand our world, and the complex interactions of people with one another and their environment. My work is an improvised exploration of this complexity, as opposed to a structured, plot-driven narrative.
This site uses cookies to ensure you get the best experience. More info...
Got it!