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.
Obviously, a theatrical masterpiece needs more than a plot; many television shows are nothing but plot, and it is doubtful that they will stand the test of time. But I also don't think that making fun of plot or acting like we're all somehow 'above' structure is such a good idea.
It's a cliche, and in a way it's a conservative idea about fiction, but I did learn the hard way that plot does need to dictate the story.
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.
It doesn't matter how complex your plot or your characters are; you have to be able to express the big idea of a film in a sentence or two.
Take up one idea. Make that one idea your life - think of it, dream of it, live on that idea. Let the brain, muscles, nerves, every part of your body, be full of that idea, and just leave every other idea alone. This is the way to success.
Remember: Plot is no more than footprints left in the snow after your characters have run by on their way to incredible destinations. Plot is observed after the fact rather than before. It cannot precede action. It is the chart that remains when an action is through. That is all Plot ever should be. It is human desire let run, running, and reaching a goal. It cannot be mechanical. It can only be dynamic.
The way I express ideas is through the plot, Suspense is an important part of expressing an idea.
Take up one idea. Make that one idea your life. Think of it, dream of it, live on that idea. Let the brain, muscles, nerves, every part of your body, be full of that idea, and just leave every other thought. This is the way to success.
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.
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.
After preliminary research, I zero in on an idea, and then I spend at least four months exploring the topic and in plot-building. I jot down every single detail of the plot as bullet points per chapter, and only when the skeleton is complete do I start writing.
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.
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.
I want the plot to be as complicated as possible. Usually I'll write all the way through to an end, and then I go back and try to fix the ending so that it makes sense. I don't think out the plot ahead of time.