A Quote by Lois McMaster Bujold

The rule for finding plots for character-centered novels, which is to ask: 'So what's the worst possible thing I can do to *this* guy?' And then do it. — © Lois McMaster Bujold
The rule for finding plots for character-centered novels, which is to ask: 'So what's the worst possible thing I can do to *this* guy?' And then do it.
Usually the characters are where I start. Then I continually ask myself, 'What's the worst thing that could happen to this character?'
Despite the war, and bombings, and all the big things that happen to us, the stuff of our lives is small and always will be. During a war it is different, but even then, it is perfectly possible to write novels during a major war, which are about those thing which endure. It is what makes us human and the thing which is going to keep going.
I think there's a false division people sometimes make in describing literary novels, where there are people who write systems novels, or novels of ideas, and there are people who write about emotional things in which the movement is character driven. But no good novels are divisible in that way.
To me, it all comes down to things being character-driven. It's hard for me to look beyond that. CG and all this cool stuff - so be it. But to me, it pretty much begins and ends with character-driven plots rather than technologically-driven plots.
First ask yourself: What is the worst that can happen? Then prepare to accept it. Then proceed to improve on the worst.
It's - you know, acting's all about relatability and finding empathy for a character, which is essentially, kind of, you're finding empathy with a part of yourself, which is a part of a character that was written by someone else, which was essentially kind of a part of them as well because it was a voice in their head they wrote down.
Accuracy is paramount in every detail of a work of history. Here's my rule: Ask yourself, 'Did this thing happen?' If the answer is yes, then it's historical. Then ask, 'Did this thing happen precisely this way?' If the answer is yes, then it's history; if the answer is no, not precisely this way, then it's historical drama.
Biographies are, in their nature, far more difficult to make into films than novels, because novels come with plots constructed and dialogue written, whereas I don't invent dialogue for my subjects or plot their lives for them.
You can't worry about ageing because that's the worst thing. If you start, then you just keep finding more things you don't like, and then you're finished. There are a lot of things I could have done to my face, but it would never stop.
What I loved about romances was the character, and I think I still bring that to my novels. What romance taught me was that the 'who' will always matter more than the 'what.' It's fun to come up with plots, but I want to make sure the reader cares about who it's happening to.
I love the idea that I can change the worst possible thing to the best possible thing: dying to flying.
If the songs were in lumps, then you would expect to understand what was going on in the plot. Which is not a realistic goal. And also the instrumentation is different for every show, so it's more varied sonically. And people are free to make up their own plots, of course. There are pretty dense and complicated plots, and they're simple songs.
There’s an old writing rule that says ‘Don’t have two character names start with the same letter’, but I knew at the beginning that I was going to have more than 26 characters, so I was in trouble there. Ultimately it comes down to what sounds right. And I struggle with that, finding the right name for a character. If I can’t find the right name I don’t know who the character is and I can’t proceed.
All Bridget Jones did was give us a word for it - singleton - which was the worst possible thing.
You do know what's coming up when you're translating. I suppose the concentration, then, is on finding a formulation which is speakable and in character - and economical as well, actually.
Learn to ask for what you want. The worst people can do is not give you what you ask for which is precisely where you were before you asked.
This site uses cookies to ensure you get the best experience. More info...
Got it!