A Quote by David Shields

With relatively few exceptions, the novel sacrifices too much, for me, on the altar of plot. — © David Shields
With relatively few exceptions, the novel sacrifices too much, for me, on the altar of plot.
I'm a pantser. I try to plot. I always try to plot. I end up with a few paragraphs that basically outline the gist of the story.But I never get much beyond that. I get too impatient to write.
The people on the streets just say 'hi' and let me walk on. They take relatively few photos, and those that do are tourists. Munich natives are relatively relaxed. They pretty much leave me in peace and I think that's very good. The Bavarian mentality fits very well to me.
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.
The funny part of it all is that relatively few people seem to go crazy, relatively few even a little crazy or even a little weird, relatively few, and those few because they have nothing to do that is to say they have nothing to do or they do not do anything that has anything to do with the war only with food and cold and little things like that.
At the time I begin writing a novel, the last thing I want to do is follow a plot outline. To know too much at the start takes the pleasure out of discovering what the book is about.
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 write a draft version of the novel in which I try to develop, not the story, not the plot, but the possibilities of the plot. I write without thinking much, trying to overcome all kinds of self-criticism, without stopping, without giving any consideration to the style or structure of the novel, only putting down on paper everything that can be used as raw material, very crude material for later development in the story.
It is much easier for me to define what makes a novel French or Russian, but defining the characteristics of an Australian novel are difficult for me as it is all too close - I can't see the woods for the trees.
I'm certainly a plot and character man. Themes, structure, style - they're valid components of a novel and you can't complete the book without them. But I think what propels me as a reader is plot and character.
If I had a plot that was all set in advance, why would I want go through the agony of writing the novel? A novel is a kind of exploration and discovery, for me at any rate.
I'm saying with very few exceptions nothing lasts forever, and among those exceptions, no work or thought of man is numbered.
When I first started auditioning, I was so, dare I say, desperate and hungry for a job that I pretty much went out for anything my agents sent me with a few exceptions.
[A novel by Henry James] is like a church lit but without a congregation to distract you, with every light and line focused on the high altar. And on the altar, very reverently place, intensely there, is a dead kitten, an egg-shell, a bit of string.
I couldn't resist hiding some historical details and a few clues relevant to the plot and characters of 'A Discovery of Witches' throughout the pages of the novel.
As I write each new Thorne novel, I'm determined that whatever is happening plot-wise, a new layer of the onion will be peeled away and reveal something about Thorne that is surprising to me as much as anyone else. If I can remain interested in the character, then hopefully the reader will stay interested, too.
With few exceptions, the publishing industry has come to a consensus: if a book has a young protagonist, and if its worldview is primarily interested in the questions that crop up when coming of age, then it's a young adult novel.
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